• Journal of the Korean Institute of Landscape Architecture
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• v.44 no.3
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• pp.13-24
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• 2016

What are the roles and functions of urban gardening created by citizens in Sujin 2-dong, Seongnam-si? This study has looked into urban gardening in everyday life in a bid to find possible solutions for sustainable urban regeneration. The paper has examined the types, functions, and characteristics of urban gardens in Sujin 2-dong, where the urban restoration project is in progress. This study has conducted primarily on-site inspections and interviews. The research findings are as follows. Most urban gardens in Sujin 2-dong have a vertical structure rather than a regular ground-based one due to lack of land. Six major locations of building a garden include the front of a building, rooftop, top of a gate, stairs, wall, and yard. Rooftop gardens are most common and are built mostly for production purposes. Due to architectural characteristics of this village, there are relatively many stair gardens built mostly for aesthetic purposes. The garden in front of a building has served multiple functions, including formation of entry, privacy protection, and prevention of unauthorized parking. Other than those, detached houses have quality urban gardens built with greater effort and care, while multi-household houses have seen a decrease of stair gardens and an increase of vertical gardens due to their comparatively limited space. By utilizing this research, we hope to show that it is important to understand the local's wisdom and voice for a sustainable urban environment as well as keep these findings in mind during the construction of new buildings. This study would be expected to be useful as primary research for urban gardening in everyday life and alternative ways of urban regeneration.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.35 no.3
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• pp.13-21
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• 2017

The Cho-yeon Pavilion located in the Wangdae village in Samcheong-ri, Songgwang-myeon, Suncheon-si, was transformed into a place of refuge, a shrine, a vacation home, a lecture hall for kings. Based on the change, the current study has explored the periodic changing placeness and the transformation of cultural landscape and has figured out the meaning. The result of this study is as follows. First, "Cho-yeon", named by Yeonjae Song, Byeong-Seon, originated from Tao Te Ching of Lao Tzu. The concept is found not only in the Cho-yeon Pavilion in Suncheon but also in various places, such as, the Cho-yeon-dae in Pocheon, of the Cho-yeon-dae in Gapyeong, of the Cho-yeon-dae of the embankment behind the Gioheon of Changdeok-gung Garden, Cho-Yeon-Mul-Oe old buildings, including Jung(亭), Dae(臺), Gak(閣), of Ockriukag in Yuseong, etc. This shows that taoistic Poongrhu was naturally grafted onto confucian places, which is one of the examples of the fusion of Confucianism, Buddhism, and Taoism. Second, the placeness of the Cho-yeon Pavilion area is related to a legend that King Gong-min sought refuge here at the end of the Koryo Dynasty. The legend is based on the Wangdae village(king's region), Yu-Gyeong(留京)(the place where kings stayed), rock inscription of Wang-Dae-Sa-Jeok, Oh-Jang-Dae (the place where admiral flags were planted), and the Mohusan Mountain. Third, the Cho-yeon Pavilion not only has a base(the vacation home) that reflects confucian values from the rock inscription(趙鎭忠別業, 趙秉翼, 宋秉璿) of the beautiful rock walls and torrents but also has territoriality as taoistic Abode of the Immortals (there are places where people believe taoist hermits with miraculous powers live within 1km of the pavillion: Wol-Cheong(月靑), Pung-Cheong(風靑), Su-Cheong(水靑), Dong-Cheon(洞天). The Cho-yeon Pavilion also reflects the heaven of Neo-Confucianism for, pursuing study, and improving aesthetic sense by expanding its outer area and establishing the nine Gok: Se-Rok-Gyo(洗鹿橋)., Bong-Il-Dae(捧日臺), Ja-Mi-Gu(紫薇鳩), Un-Mae-Dae(雲梅臺), Wa-Ryong-Chong(臥龍叢), Gwang-Seok-Dae(廣石臺), Eun-Seon-Gul(隱仙窟), Byeok-Ok-Dam(碧玉潭), and Wa-Seok-Po(臥石布). In sum, the Cho-yeon Pavilion is a complex cultural landscape. Fourth, the usage of the Cho-yeon Pavilion was expanded and transformed: (1)Buddhist monastery${\rightarrow}$(2)Confucian vacation home${\rightarrow}$(3)Vacation home+Taoistic Poongrhu Place${\rightarrow}$(4)Vacation Home+Taoistic Poongrhu Place+Lecture Hall(the heaven of Neo-Confucianism). To illustrate, in 7978, the place served as Buddist Monk Kwang-Sa's monastery; in 1863, Cho, Jin-Choong established a vacation home by building a shrine in front of the tomb of his ancestor; in 1864, Cho, Jae-Ho expanded its usage to a vacation home to serve ancestors as a taoistic place by repairing the pavilion with roof tiles; and after 1890, Cho, Jun-Sup received the name of the pavilion, Cho-yeon, from his teacher Song, Byeong-Seon, and used the Pavilion for a lecture hall.

• The Journal of Art Theory & Practice
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• no.15
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• pp.7-30
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• 2013

This is a study on the ecological view of Robert Smithson's reclamation projects. Smithson was a pioneer of Earth art in the late 1960's. Robert Smithson believed that he could transform industrial wastelands, such as an abandoned oil rig and a no longer used quarry, into "Earth Art." In the early seventies, he conceived of land reclamation as a new art form and called this art "Reclamation Projects." His attention regarding industrial ruin started from the American political and social situations in the 1960's. In the late 1960's, American society was in chaos from the right of movement of African Americans, the women's rights movement and from the strike for renunciation of the Vietnam War. The intellectual class seemed to believe that it was the destiny of a closed system's society to run in the direction of entropy. Smithson, who was skeptical about the system of American society, also thought that entropy was the proper diagnosis to describe America's situation in the 1960's. The 1960's civic movements like the civil rights movement and antiwar movements expanded into the environmental movements based on ecological views of the 1970's. The government had also started to worry about environmental pollution. Thus, the reclamation act was also established in 1972. Smithson believed that the relation between art and social background are closely related and affect each other. He was concerned with how art can join society, and the result was reclamation projects. Such reclamation projects lie on man-made wastelands, like abandoned oil rigs and no longer used quarries, which was an allegory of entropy. He also thought that Frederick Law Olmsted was a pioneer of earth art. The aesthetic category of Olmsted's view of landscape is to be based on the picturesque of Uvedale Price and William Gilpin. So Smithson, who considered Olmsted as his touchstone, also accepted the picturesque. Such reclamation projects aim to change with nature by adapting the creative power of artists to the ruin which has the highest level of entropy in industrial society. Smithson wanted this to become the bridge between man and nature. His reclamation project's aim, which shows the system interacting between man and nature as a network, is not different from the ecological view of the 1970's environmental movement.

• Journal of the Korean Institute of Landscape Architecture
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• v.46 no.3
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• pp.117-129
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• 2018

With the changing of social needs and paradigms, citizens are concerned about aesthetic and cultural community gardens from productive urban farms in Korea. It is still difficult, however, to cultivate a beautiful garden with a community to design, install and manage it. Therefore, this study analyzed the community garden design guidelines of other countries to derive the characteristics and implications. The research method analyzed six guidelines for community garden design in the UK, Canada, the USA, Australia and Japan. As a result of the study, most community garden design guidelines are opened freely via on-line service. The guidelines are composed with chronological processes such as intro, site selection, design, construction and maintenance. The introduction section treats definition, purpose, meaning, efficiency and success factors for community gardens. Site selection emphasizes site conditions (soil, light, shadow, water, etc.), landholding and insurance. The design section, however, lacks adequate drawings and case images. These guidelines offer little explanation with few illustrations and sentences. Construction sections explain about plantings, facilities, expense and details. The maintenance guidelines of community gardens contain how to control members, funding, harvesting, pests and plants. In addition, some guidelines include vandalism, organic cultivation methods, recording and advertisement. Lastly, the appendix contains a variety of checklists, administrative documents, guidelines, drawings, and contacts. This study will help understand the trends and characteristics of overseas community gardens design guidelines so as to also supply directions for guidelines to be introduced in Korea.

• The Journal of the Korea Contents Association
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• v.21 no.10
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• pp.240-263
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• 2021

A study on the public design rules of the government and each local government showed that the historical and cultural street landscape was included in the public design field, but it did not provide a clear evaluation index for the historical and cultural street public design. Against this background, this study intends to provide basic data for the improvement and improvement of the public design of the historical and cultural street in the future by producing an evaluation index for the public design of the historical and cultural street landscape. First, in this study, 6 evaluation indicators and 19 detailed items were derived by conducting expert Delphi survey twice on the basis of previous studies. Second, exploratory factor analysis and AHP analysis were conducted through a survey to verify the validity of the evaluation index and the priority of the index items, and as a result of the analysis, the Cronbach'α coefficient and the consistency ratio were verified. Among the evaluation indicators objectively derived through the above method, the priority was 'historical and culture-related> public-related> safety-related> accessibility-related> lasting-related> related to aesthetic harmony. The results of this study are meaningful in that they can provide basic data for the improvement and improvement of public design of historical and cultural streets in the future.

• The Journal of the Convergence on Culture Technology
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• v.7 no.2
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• pp.199-206
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• 2021

The three generations of Haenam Yoon, who have been handed down to Gongjae Yoon DuSeo (1668~1715), Yoon DeokHee (1685~1776) and Yoon Yong (1708~1740), were based in Haenam. They had an artistic soul on the stage of Hanyang and succeeded in the art of the family, building a reputation as a family of Seonbi painters representing the late Joseon Dynasty. Born as the eldest son of Gongjae and lived at the age of 82, Rakseo learned a variety of studies, calligraphy and painting from his father and Lee Seo. While learning the paintings of the early and mid Joseon period, and accepting the Namjong painting method, he pursued the realism and three-dimensional sense of the subject by adding a Western-style shading method. In particular, he showed outstanding talent in horse paintings and pottery figures, expressing his original 'Beauty that realistically portrays real scenery'. Cheonggo, who was born as the second son of Rakseo and died at the age of 32, was good at Namjong landscape painting using various tree drawing methods. He painted the original Siuido by changing the topical poems, as well as detailed observations and explorations to accurately describe the facts of the object. In addition, 'Beauty showing affection through realistic scenery' was expressed by newly changing and reinterpreting the tendency of home appliances painting to express the spirit as a form beyond the realistic landscape. Rakseo and Cheonggo father and son made a 'NogUdang' painting style, drastically changing the paintings of the late Joseon Dynasty, and had a great influence on the history of Korean painting.

• Journal of The Geomorphological Association of Korea
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• v.18 no.4
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• pp.127-140
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• 2011

Research achievement of Korean geographers on karst studies was evaluated based on the number of publications for the past fifty years, which were divided into four main periods, including beginning, youth, growth, and maturity stages. The descriptive statistics of research papers published in major geography journals were computed and these articles were classified according to their main subjects and study areas. The role of moisture is particularly important in Karst geomorphology compared to the other geomorphological fields. The morphology, landscape, and formation processes of tropical and temperate karst are different from each other, and the regional and altitudinal characteristics of karst environments are significantly diverse. Thus, it is likely that the detailed records of climatic changes are preserved in the northeast Asian karst landform. Since karst geomorphology can be a major cause of natural hazards, such as collapsed surfaces or subsidence, which are associated with anthropogenic activities, including underground-water pumping and land use, education and training of physical geographers, specializing on monsoon effects, distributions of limestone, and soil characteristics, are critical issues to foster the capacity of disaster management in the nation. Moreover, knowing that the unique and spectacular landscape of karst geomorphology is a valuable, natural resource of tourism and has aesthetic values on its own, contributions of geographers to the introduction, conservation, research, and development of karst environment should be emphasized.

• Journal of Soil and Groundwater Environment
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• v.17 no.6
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• pp.112-118
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• 2012

Fine suspended solids from mine drainage draw attentions due to their potential adverse influences on the water quality, such as increasing turbidity and degrading aesthetic landscape. Currently, sand filter beds are adapted in some mine drainage treating systems. However, more efficient system is in demand, as the existing sand beds reveal some problems, such as frequent maintenance intervals. Various filtering mediums including fly ash, mine tailing aggregates and the sand were tested for improving the current system, using column experimental set-up. Mine drainage samples were collected from the current treating systems in the abandoned H coal mine. The experiment was run for 7 days. Suspended solids recorded as 100.9 mg/L and the value exceeds the current standard, 30 mg/L. Sand was proved to still be the optimum medium for the fine suspended solids, compared to fly ash and fly ash + sand. Mine tailing aggregates were placed at the exit of the columns, substituting gravels. The tailing aggregates is made by mine tailings and clay. Sand bed filters can also be improved by mixing granular activated carbon, which was found to be economical and efficient in the batch experiment, conducted at the same time.

• Fashion & Textile Research Journal
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• v.9 no.1
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• pp.15-23
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• 2007

In the Middle Ages it was customary to cover up the hair, but the Renaissance brought uncovered coiffures with the revival of humanism. In those days, silk and linen veil, ribbon, string of pearl used for covering, wrapping round with the hair. During the Baroque period, the style of hair was to pursue the beauty of imbalance in form, reflecting the atmosphere of the time. Hurluberlu and Fontanges hairstyles were in fashion. Then in the Rococo period, huge, resplendent coiffures of exquisite beauty were invented as a symbol of power, and these modes of hairdo were a dominant force in the culture of personal adornment of that time. Pouf and enfant hairstyles were in fashion. As a reaction against the extravagance of the proceding modes, late 18th and early 19th centuries brought revival of simpler hairstyles of ancient Greece and Rome by the influence of neoclassicism. The latter half of the 1820's onwards saw he reappearance of voluminous coiffures as well as an enormous variation of knots with combinations of false knots and chignons. Late 19th through early 20th centuries was the period of beautifully waved hair, the style of which was an integration of Marcel waves and Art Nouveau. The 20th century saw the epoch-making invention of permanent waves using electricity. Concurrently, with an increasing participation of women in social affairs since pre-and post-World War I periods, as well as with Art Deco in full flourish, bobbed hair was created in pursuit of lightness and nimbleness, quickly showing the change of women's modes of life. Hair fashions thoroughly embody the aesthetic sense of each period, reflecting the landscape of contemporary society.

• Archives of design research
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• v.16 no.3
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• pp.329-340
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• 2003

The purpose of this study is to provide the methods of harmony in color combination of environmental color for apartment in order to improve the image of the urban landscape. For this study, apartment in Iksan City was selected is a sample and twenty two apartments were analyzed. This framework of this study is A. Hard and L. Sivik's color combination model based on Natural Color System. This study examines various theories on environmental color perception and new approaches to color aesthetics, and tries to present perceptual properties that can be applied to environmental color design First, the principle of color harmony feeling in based on nuance and tone. Therefore, to control brightness and chromaticness with are related with nuance is important in color combination. Second, the aesthetic experience in color preception can be defined as a combined effect of similarities and differences of color attributes. Third, color harmony theory is one of the areas that can be benefit a great deal from and interdisciplinary approach, add empirical study such as this can be used as a basis for environmental color design and evaluation.