• Journal of Ginseng Research
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• v.34 no.4
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• pp.304-313
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• 2010

This study was undertaken to discover the effects and possible mechanisms of the effect of red ginseng extract (RGE) on spontaneous sleep. The effects of a low dose (10 mg/kg) and a high dose (200 mg/kg) of RGE were compared in rats. After recovery from a surgical operation enabling electroencephalograms recordings, rats were administered RGE orally. RGE was administered orally for 1 day or once per day for 5 days in either 10 or 200 mg/kg doses. Polygraphic signs were recorded for 12 h after oral administration of RGE. Both treatment with a large dose (200 mg/kg) of RGE for one day and treatment with either a large or a small dose for 5 days reduced the number of sleep.wake cycles. Daily treatment with RGE (either 10 or 200 mg/kg) for 5 days augmented NREM and total sleep, but reduced wakefulness. Delta wave activity recorded during non-REM (NREM) sleep and REM sleep was increased after one treatment with RGE (either 10 or 200 mg/kg). Delta wave activity during NREM was enhanced after daily treatment with RGE (either 10 or 200 mg/kg) for 5 days. Both alpha and beta subunits of the $\gamma$-aminobutyric acid $(GABA)_A$ receptor were significantly over-expressed in the hypothalamus of the RGE-treated groups. Moreover, the expression of glutamic acid decarboxylase was also increased in the hypothalamus. These results demonstrate that RGE may regulate spontaneous sleep via $GABA_A$ergic systems.

• Korean Institute of Interior Design Journal
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• v.20 no.6
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• pp.44-52
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• 2011

Louisiana Museum of Modern Art near Copenhagen is the most visited art museum in Denmark. It was originally founded by the director of the time, Knud W. Jensen and designed by two Danish architects, Vilhelm Wohlert and J${\o}$rgen Bo. The first part of the museum was built and opened to the public in 1958. The first part consisted of just a few exhibition spaces and glass corridors. But museum has been expanded step by step into a large park-like museum throughout 40 years of time. Louisiana museum has a unique environment in which art, architecture and nature are inter-related together. There was a very clear background for this museum atmosphere that was created by Knud W. Jensen from the very beginning. He wanted to make 'a sculptural park' or 'a low pavilion in the park'. The concept of 'park' was the key element. The architects, especially Vilhelm Wohlert who studied at the western area of the United States and influenced by the bay area architecture as well as the oriental wooden structure, interacted with the director's idea fully and made an invisible architecture in which 'Experience of Space' is the most important aspect. This thesis aims to analyze several crucial spaces of the museum and to find a hidden design characteristics. Chapter 2&3 explains general backgrounds and main design philosophy. Chapter 4 studies each parts' spatial experience and design methods with 3-dimensional diagrams. Chapter 5 tries to make an overall design characteristics that underlines the whole museum environment. The significance of Louisiana museum is not only in the fact that it is the most visited, but also in the fact that the role of architecture is to make a better environment where human and art are harmonized together within nature. The utopian idea of the founder started in doubt almost 50 years ago has been already successful in this small but vibrant park.

• Korean Institute of Interior Design Journal
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• v.17 no.1
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• pp.30-38
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• 2008

Borrowed landscape is an Oriental gardening method to draw inside external natural landscape, and borrowed landscape of Japan has a different characteristic from that of Korea or China nature is manipulated and re-interpreted by human will in the course of applying it to architectural space. In other words, not the original scenery, but manipulated one appears which is cut, reduced, or deleted by architectural elements such as wall, window, or fence. Therefore, this study examined how architectural structure of Ando Tadao symbolizing modernist architecture understood and adopted Japanese traditional views on nature, that is, borrowed landscape. To this end, on the basis of the understanding on 'polymerization of abstraction and form' he mentioned, his geometric architectural principles are discussed, since this serves to be an important beginning of architectural concretization by the concept of 'form' experienced and perceived by human being through geometric means called architecture 'abstraction.' The findings of this study are as follows: first, it was found that Ando Tadao generates borrowed landscape effects by polymerizing and manipulating his simple and geometric structures with each other and thereby editing natural scenery, while Japanese traditional borrowed landscape introduces source scenery inside, through condensation and symbolization. Second, the results of this study revealed that his architecture functions to transcend external and internal realm of a space, which is also observed in Japanese traditional architectural borrowed landscape. Therefore, this study is considered significant in the sense that it proved that Ando Tadao's architectural language is based on borrowed landscape as a specific Japanese traditional element, going beyond the scope of previous studies focusing simply on the introduction of natural elements.

• Journal of the Korean Institute of Landscape Architecture
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• v.28 no.4
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• pp.132-137
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• 2000

In June, the City of Seoul held a design competition for $\ulcorner$Seoul Park$\lrcorner$in Paris to promote friendly relations with its sister city. The purpose of this paper is to articulate the design concept of a scheme submitted by the author. The author interpreted the object of this design competition as follows: if we regards a park not as one of urban planning facilities but as a space for expressing a culture, $\ulcorner$Seoul Park$\lrcorner$in Paris is a space expressing Korean culture, or a culture of the City of Seoul in Paris, France. Three points were emphasized in this scheme: 1. Physical and non-physical aspects of Korean culture, or a culture of the City of Seoul were expressed separately. In physical part, a traditional Korean garden was reappeared to express its authenticity compared to its counterpart, French classical garden - its formal and grand style. In nonphysical part, Seoul's features and its citizen's facial expression were engraved on 'free standing walls' named 'Seoul Expression'. In addition, Korean traditional and modern performing arts will be performed in a square named as 'Seoul madang' surrounded by the free standing walls. 2. A space clearly divided by the fence was necessary to distinguish a traditional Korean garden from the place which looks like an amusement park. Traditional wall, mounding and pine tree groves were included. 3. Bamboo grove with the way taking a walk was introduced. The author expected that Parisian feels oriental mystery, the sound of wind, and the time lag of past and present in this sounding bamboo grove.

• Journal of The Korea Institute of Healthcare Architecture
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• v.9 no.2
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• pp.25-36
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• 2003

The purpose of this study is to trace the historical background and to describe the architectural issues of the healthcare facilities in 1876~1945 years. Between 1876~1895 yr, the first western hospital "Jejung-Won" was built in Seoul by the Korean Gov. with the help of the American Missionary Dr. Allen. The special clinic for curing smallpox, Udu-Kuk was built nationally and the hospitals for infection disease were built in the same periods. In the next stage 1896~1905, 1905~1910 yr, there were many type of facilities such as military hospital, oriental medicine hospital, public hospital for poor people, clinic or hospital for Mission. After being conquered by Japan in 1910~1945, the Japan Healthcare System was directly transferred into Korean system and the healthcare facilities was built by japanese architect. At that time, the Japan healthcare system had been constructed after following the modern European healthcare system. Most healthcare facilities in the age of Japanese imperialist was handed over to the Korean Government in 1950~1960 yr after world war II.

• Proceedings of the Korean Institute of Interior Design Conference
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• 1999.04a
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• pp.75-78
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• 1999

The purpose of the study wast to determine the effect of slides exposure of different cultural architecture and interiors on students discriminating abilities of cultural differences among China, Japan, and Korea. Pre-test post-test experimental design was used. To measure students cultural discriminating abilities, a scale of 48 graphic items representing latticeworks of 3 countries was designed. For the treatment, 20 pictures showing representative architecture and interior spaces of each country thereby a total of 60 slides was selected. Subjects were 118 undergraduate students majoring in interior design. After measuring students' critical ability, the slide images were shown in country's order without explanation. After the exposure, post measures with the same instruments were done. To find the statistically significant difference, paired t-test was used. result indicated that the slide exposure have direct and positive influence on students cultural discriminating abilities. Therefore the model can be efficiently used in the educational setting to give student experience of cultural diversity.

• Journal of the Korean Institute of Rural Architecture
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• v.12 no.2
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• pp.135-142
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• 2010

This research aims to examine the characteristics of tomb sites including tomb mound and attached buildings and also to find out the principles reflected in the traditional oriental Feng-Shui location and spatial composition of Junkyung and Youngkyung tomb at Samcheok. The results of this study are as follows. These tombs harmonize with each other in the cosmic dual forces because Junkyung tomb is men's sex symbol and tiger to lie on his belly and Youngkyung tomb is women's sex symbol in geographical feature. Spatial structure in these tomb sites were placed in a reflected line following the hierarchy of metaphysics by standing high Geumchunkyo(Bridge)-Hongsalmun(Gate)-Jegak(Pavilion)-Bongbun(Tomb mound). Axis structure of these tombs is irregular bent-axis type from Geumchunkyo to Bongbun, specially in case of Youngkyung tomb it is getting more refractive. These tombs are divided into and characterized by three zones. Firstly the space for living people constitutes from Geumchunkyo to Hongsalmun, secondly the semi-sacred space constitutes from Hongsalmun to Jegak, and lastly the space for the dead constitutes from the back of Jegak to Bongbun. - type Jegak instead of T type Jegak generally used at Chosun Dynasty was installed because of claypan stretched out in front of Junkyung tomb and Bongbun of Youngkyung tomb located at a ravine between two mountain ranges.

• Journal of the Korean Institute of Landscape Architecture
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• v.27 no.5
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• pp.48-56
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• 2000

This study aims to find out the norms and principles reflected in the spatial organization of royal tombs in the Chosun Dynasty through the modern interpretation of traditional oriental philosophy theory. We examined the characteristics of royal tomb sites including Jeshil(Shrine), Hongjunmun, tomb mound, ponds, and attached buildings employing an analysis of the spatial formation and landscape. This study covered 36 tombs of kings and queens in the Chosun Dynasty. The entire layout of royal tombs, including annexed buildings, was informal in may cases. This was due to following the natural contour rather than adhering to certain philosophical principles. The royal tomb site is divided into three zones. Jeshil and pond constitute a space for living people, visitors. Secondly, the semi-scared space includes the space from Hongjunmun to the entrance to the Chungjaka. The last space is for the dead, from the back of Chungjakak to tomb mound. This is in line with the layout of palaces of the Chosun Dynasty which is characterized by "three gates and three zones": outer yard-court yard- back yard. The size of the space for holding memorial ceremonies, from Hongjunmun to the Chungjakak entrance, was set at 900m until the early Chosun Dynasty. Since that time the distance varied according to the land topography due to the influence of metaphysics. It can be summarized that the spatial organization of royal tombs in the Chosun Dynasty is based on the Confucianism value, the natural contour of the site, and inner spiritual value.ual value.

• Korean Institute of Interior Design Journal
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• no.25
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• pp.236-244
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• 2000

The concept of the true house' is based on the balance of a person's life and nature and represents the life in which lies an organic harmony between environment and ecology. However, humans have always been in a position of dominance over nature and with their developments have brought on much destruction and corruption to the ecosystem. With this, the position of the true house has intensified and the ecological approach of architecture has started to come into consideration as its alternative plan. Accordingly, it is essential to reconstruct and take on a new perspective of nature. The conversion to a more Oriental approach, which dwells in the adaptation and harmony of nature, is especially sufficient to the ecological aspect of architecture. From this we can realize that the ecological approach is none other than a modern interpretation of what our ancestors have lived by. In other words, an architectural concept deriving from the adaptation of climate, season, and nature-the coexistence of man and nature. From an ecological point of view, the idea of favoring nature in the traditional house can be found in the inclination of being one with nature by adapting to its geographical and preferable climate conditions. This results in the use of natural energy, the use of natural resources, the organic connection between the inner and outer natural space, and the application of nature itself. By approaching these elements from a modern point of view and applying it to the current time, we can open up the door to a more lasting human-environment based ecological position of architecture where our own climatic characteristics and traditions can be reflected in the pursuit of harmony between man and nature.

• Journal of the Korean Institute of Landscape Architecture
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• v.18 no.1
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• pp.1-8
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• 1990

Forty different apartment houses were subjected to assess the status of indoor - landscaping plants found at each apartment house in Seoul for the year of 1986 and 7989. 1. Comparing with those of 1986, 46% increase in total indoor plant species and 68% increase in the number of them were observed. The most abundant sort found in 1786 was oriental orchid, African violet, Scindapsus, cacti, and Clivia, and in 1989, first with oriental orchid, cacti, Chlorophytum, Clivia and Dracaena, in that order. 2. Foliage ornamental plants were mast popularly found in both years of 1986 and 1989 when considered for horticultural classification of plants. 3. Average plant height ranged between 15 to 30 cm in the year of i986, whereas 31 to 80 cm in 1987, indicaling that the size of plants has greatly increased. 4. Kind of planters or containers was most frequently shown to be made of plastic material in both years, and the porcelain ones have significantly been increased to use recently. 5. Most indoor plants placed at the rooms were on the floor in those years, yet the use of planting shelves became particularly manifesting in the year of 1989. 6. Fittonia and cacti were the most frequently used plant materials for installing terrariums at apartment rooms In the year of 1986, whereas Adiantum and Maranta were so in 1989, indicating that the growers choose much adaptable species in apartment environments. Most of the plants grown to landscaping the indoors was apartment verandas in those years. 8. Average number of indoor plants possessed at each apartment houses surveyed for the year of 1986 was 16 different ones, whereas 27 each In 1789, shoving a noteworthy increase in the number. 9. There have been apparent increase and improvement inhabitant's indoor - plant interest in the years to pass and probably to come.