• Journal of the Korean Institute of Landscape Architecture
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• v.50 no.2
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• pp.64-75
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• 2022

The purpose of this study is to illuminate the meaning of the soundscapes of two bells, Daeheung-dong Cathedral and Sungsimdang in Eunghang-dong, which are landmarks and attractions in the historic downtown of Daejeon. The study was conducted through field research and recordings, as well as literature studies of related documents and soundscape theory. Daejeon city was developed along with Daejeon Railway Station during the Japanese colonial period in the early 20th century. As the Chungnam Provincial Office moved to Daejeon, Daeheung-dong and Eunhang-dong in Jung-gu, located near Daejeon Station, developed significantly and formed the city centre. As major administrative agencies moved to Seo-gu in the 1990s, the downtown area of Daejeon was on a path of decline, and the decline accelerated with the development of Sejong city. Meanwhile, Daeheung-dong Cathedral and Sungsimdang, founded by refugees during the Korean War, firmly protected the historic downtown area of Daejeon, where the natives left. Daeheung-dong Cathedral, established during the Japanese colonial period, is a local landmark with a history of 100 years in 2019. Sungsimdang, which was created with the backdrop of the Korean War, is also a historical and cultural asset with a history of 60 years and a local landmark selected as the No. 1 tourist attraction in Daejeon. This research, which started from the sound of the bells of Daeheung-dong Cathedral, heard even in the neighboring residential areas, led to the discovery of the bells of Sungsimdang in Eunhang-dong, located across the street. In this paper, the bells of Daeheung-dong Cathedral and Eunhang-dong Sungsimdang have characteristics of soundmarks according to R. Murray Schafer's soundscape sound category. Furthermore, this paper attempted to analyze the meaning of the two bells according to the relatively recent EU soundscape definition. These two bells are signal sounds at the surface level, but are the sound marks of the historic downtown area of Daejeon at the deep level. Although there are outward differences in size, scale, frequency, and famousness, these two bells share a meaning in terms of locality and good influence with the historicity and spatiality of a special relationship. The implication of this study is that the two places should be preserved as local historical and cultural assets not only as visual landmarks but also as sound marks in the urban regeneration or urban development of Jung-gu, Daejeon.

• Journal of the Korean Institute of Landscape Architecture
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• v.50 no.2
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• pp.138-148
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• 2022

The 1920s and 1930s were when new trends became prominent in Korean housing architecture. This study began with a curiosity about the appearance of residential gardens during the transition period, when housing types were changing. Since gardens are constantly evolving and living spaces, it is not easy to give a clear picture of their evolution. However, through popular magazines and newspaper articles published in the 1920-30s, this study investigated how people perceived the gardens socially and how they engaged in gardening. First, the study of Gyeongseong's urbanization process revealed that people perceived gardens as a way to give natural beauty to the urban environment. Therefore, the creation of a residential garden was strongly encouraged. Second, the housing improvement movement, which the architects actively discussed during this period, emphasized that a garden is a factor that can help improve the quality of the residential environment in terms of hygiene and landscape aesthetics. Third, since the media provided information on gardening, it was confirmed that the number of people engaged in gardening as a hobby increased. As designers and gardeners who had received a modern education became more active, the concept of "designed gardens" was formed. Lastly, although the houses were divided into various types, the shapes of the gardens did not show a significant difference according to the architecture type. They tended to embrace the time's ideal garden design and style. Therefore, even in a traditional hanok, Western-style gardens were naturally harmonized into the overall architecture, and exotic plant species could be found. Although the gardens found in media images were limited to those belonging to the homes of the intelligentsia, it can be seen that representativeness was secured, considering the popularity and ripple effect of the media. Therefore, this study contributes to the literature as it confirmed the ideal gardens and gardening methods in the 1920s and 30s.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.4
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• pp.24-36
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• 2014

The result of the research conducted for the purpose of investigating the semantic value and the layout of the Cheongryu Gugok of Dorimsa Valley, which exhibits a high level of completeness and scenic preservation value among the three gugoks distributed in the area around Mt. Dongak of Gogseong is as follows.4) The area around Cheongryu Gugok shows a case where the gugok culture, which has been enjoyed as a model of the Neo-Confucianism culture and bedrock scenery, such as waterfall, riverside, pond, and flatland, following the beautiful valley, has been actually substituted, and is an outstanding scenery site as stated in a local map of Gokseong-hyeon in 1872 as "Samnam Jeil Amban Gyeryu Cheongryu-dong(三南第一巖盤溪流 淸流洞: Cheongryu-dong, the best rock mooring in the Samnam area)." Cheongryu Gugok, which is differentiated through the seasonal scenery and epigrams established on both land route and waterway, was probably established by the lead of Sun-tae Jeong(丁舜泰, ?~1916) and Byeong-sun Cho(曺秉順, 1876~1921) before 1916 during the Japanese colonization period. However, based on the fact that a number of Janggugiso of ancient sages, such as political activists, Buddhist leaders, and Neo-Confucian scholars, have been established, it is presumed to have been utilized as a hermit site and scenery site visited by masters from long ago. Cheongryu Gugok, which is formed on the rock floor of the bed rock of Dorimsa Valley, is formed in a total length of 1.2km and average gok(曲) length of 149m on a mountain type stream, which appears to be shorter compared to other gugoks in Korea. The rock writings of the three gugoks in Mt. Dongak, such as Cheongryu Gugok, which was the only one verified in the Jeonnam area, total 165 in number, which is determined to be the assembly place for the highest number of rock writings in the nation. In particular, a result of analyzing the rock writings in Cheongryu Gugok totaling 112 places showed 49pieces(43.8%) with the meaning of 'moral training' in epigram, 21pieces (18.8%) of human life, 16pieces(14.2%) of seasonal scenery, and 12pieces(10.6%) of Janggugiso such as Jangguchur, and the ratio occupied by poem verses appeared to be six cases(3.6%). Sweyeonmun(鎖烟門), which was the first gok of land route, and Jesiinganbyeolyucheon(除是人間別有天) which was the ninth gok of the waterway, corresponds to the Hongdanyeonse(虹斷烟鎖) of the first gok and Jesiinganbyeolyucheon of the ninth gok established in Jaecheon, Chungbuk by Se-hwa Park(朴世和, 1834~1910), which is inferred to be the name of Gugok having the same origin. In addition, the Daeeunbyeong(大隱屛) of the sixth gok. of land route corresponds to the Chu Hsi's Wuyi-Gugok of the seventh gok, which is acknowledged as the basis for Gugok Wollim, and the rock writings and stonework of 'Amseojae(巖棲齋)' and 'Pogyeongjae(抱經齋)' between the seventh gok and eighth gok is a trace comparable with Wuyi Jeongsa(武夷精舍) placed below Wuyi Gugok Eunbyeon-bong, which is understood to be the activity base of Cheongryu-dong of the Giho Sarim(畿湖士林). The rock writings in the Mt. Dongak area, including famous sayings by masters such as Sunsaeuhje(鮮史御帝, Emperor Gojong), Bogahyowoo(保家孝友, Emperor Gojong), Manchunmungywol(萬川明月, King Joengjo), Biryeobudong(非禮不動, Chongzhen Emperor of the Ming Dynasty)', Samusa(思無邪, Euijong of the Ming Dynasty), Baksechungpwoong(百世淸風, Chu Hsi), and Chungryususuk-Dongakpungkyung(淸流水石 動樂風景, Heungseon Daewongun) can be said to be a repository of semantic symbolic cultural scenery, instead of only expressing Confucian aesthetics. In addition, Cheongryu Gugok is noticeable with its feature as a cluster of cultural scenery of the three religions of Confucian-Buddhism-Taoism, where the Confucianism value system, Buddhist concept, and Taoist concept co-exists for mind training and cultivation. Cheongryu Gugok has a semantic feature and spatial character as a basis for history and cultural struggle for the Anti-Japan spirit that has been conceived during the process of establishing and utilizing the spirit of the learning, loyalty for the Emperor and expulsion of barbarians, and inspiration of Anti-Japan force, by inheriting the sense of Dotong(道統) of Neo-Confucianism by the Confucian scholar class at the end of the Joseon era that is represented by Ik-hyun Choi(崔益鉉, 1833~1906), Woo Jeon(田愚, 1841~1922), Woo-man Gi(奇宇萬, 1846~1916), Byung-sun Song(宋秉璿, 1836~1905), and Hyeon Hwang(黃玹, 1855~1910).

• Journal of Science and Technology Studies
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• v.14 no.2
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• pp.85-125
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• 2014

This paper explores what we call 'the problem of undone social science' by examining the lack of interests in the social, ethical, and legal issues of synthetic biology among social scientists in Korea. This new field of science, which has emerged in the twenty-first century with the promise of solving future problems of energy, food, and disease in the world, has also created a considerable degree of anxiety over the issues of bioethics, biosafety, and biosecurity. From its beginning, therefore, researchers of synthetic biology in Europe and the U.S. have sought to engage social scientists in their projects. Yet scientists and social scientists in Korea have shown no sign of working together to deal with both potential benefits and risks of synthetic biology. Why this silence? What strategic moves would be needed to overcome the structural barrier for their collaboration? Surveying the diverse methodologies developed during and after ELSI (ethical, legal, social implications) experiments, this paper aims to provide three suggestions that might make possible mutually profitable and continuously stimulating dialogues between the two worlds of science and social science: first, institutionalize the ELSI studies on any newly emerging science and technology of concern; second, explore diverse post-ELSI methodologies experimented elsewhere and develop ones that might be applicable best to the Korean situation; and third and perhaps most important, create an intellectual space and a lawful protection for social scientists to exercise their research freedom at the reasonable level and receive a fair review by their peers, not solely by funding agencies and scientific organizations.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.41 no.4
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• pp.49-56
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• 2023

This study analyzes the entirety of Okhojeongdo's content found in the Punggojip, written by Kim Jo-Sun, who created Okhojeong. Through an examination of the literature confirming Okhojeong within the Punggojip, the study compares the existing research with the Okhojeongdo's content. Additionally, it clarifies the relationships between the disciple, the garden, and related historical facts. The results are as follows. First, Kim Jo-Sun, who created Okhojeong, had a strong literary inclination, which made it relatively easy to estimate the original form of the garden, as he expressed detailed content related to the design and management of the garden. Second, the historical dating of the creation of Okhojeong was previously estimated to be around 1815 based on the inscriptions on the Eulhaebyeok. However, it is more appropriate to revise this to 1804, as revealed by Lee Sung-min, who discovered records in Dongseonggyoyeojip, indicating that Kim Jo-Sun purchased the Jang's house. Third, Kim Jo-Sun's literary hobby, as depicted in Punggojip, closely followed Chinese classics. However, the part about creating the garden is supported by factual and garden archaeological records, giving it inherent value. Regarding the expansion of the garden site, it is estimated that the southern boundary of Okhojeong was extended by about half a unit(kan; 間) through a transfer from Kim saeng Saho. Various additions, stone statues, peculiar rocks, ornamental trees, and accompanying elements are found throughout the garden. Particularly noteworthy are the techniques and aesthetics of creating a stone pagoda, and there are mentions of transplanting young pine trees with professional insights. The love for harmony and elegance in the garden is woven throughout the poetry. Additionally, the process of selecting the location for Okhojeong, the understanding of the terrain and topography, the assessment of existing vegetation, the process of cutting down trees and selecting the soil, the construction of houses with tiles and thatched roofs all contribute to demonstrating the comprehensive stages of creating Okhojeong, providing insight into the location and construction process of the Sanbanru pavilion, showcasing the archaeological value of the garden. A follow-up study is needed to excavate more information about the original form of Okhojeong garden through the interpretation of the collections of the literary works of the influential figures introduced in Punggojip in the future.

• The Journal of Art Theory & Practice
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• no.9
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• pp.171-193
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• 2010

This paper examines Fernand Khnopff's Symbolism, focusing on the I Lock My Door upon Myself as a manifesto of his artistic credo in style and theme. Its title was originally in English, originating from the poem "Who Shall Deliver Me?" by Dante Gabriel Rossetti's sister Christina Rossetti. I use the term "Social Symbolism" which combines a nationalist perspective with traditional French Symbolism, in order to explain how the image of Bruges is represented in his oeuvre. Symbolism calls for psychological introspection evoking death, love, silence, and solitude and recluse from realty in pursuit of the Unknown and the Ideal. Although Khnopff shared this idea, he departed from symbolist tradition by incorporating a political milieu in his paintings. First, I discuss Khnopff's early stage in the formation of his artistic concept, including his family background as well as his early opportunity to visit the Exposition Universelle in Paris where he formed his early interests in aesthetics, philosophy, literature, mythology and Egyptian art. His early works, La Painture, la Musique, la Poesie(1880-1881), Le Crise(1881), and En ecoutant Schuman(1883) reveal his favorite subjects which were quite prevalent in the symbolist traditions of both Belgium and France. By looking at Khnopff's paintings, I endeavor to situate his Symbolism in the context of the development of Belgian modernity and cultural nationalism. Second, my analysis of Khnopff creates a new overview of Symbolism in Europe, especially in Belgium. In the absence of socio-political integration, the Symbolist painter adds nostalgic meaning to the landscape of Bruges. The scene of Bruges illuminates the social atmosphere in Belgium at that time. Since Belgium became an independent country, it tried to differentiate its own cultural and national identity from France. There was a powerful social movement for Belgium to claim its own identity, language, and culture. Bruges was, for Symbolists, the epitome of Belgium's past glory. This encouraged the formation of Belgian nationalism centering on Brussels, as I demonstrate in Khnopff's Bruges-la-Morte(1892). The relationship between Symbolist artist and writers is crucial for understanding this development. Khnopff, for instance, illustrated or provided frontispieces for many Symbolist writers such as Rodenbach, Peladan, Spencer and Le Roy. Khnopff did not objectify the exact meaning, but rather provided his own subjective interpretation. In this respect, I Lock My Door, inspired by Rossetti, started from the same motif, but Khnopff seeked escape into silence and death while Rossetti searched for Christian salvation. Finally my paper deals with the social context in which Khnopff worked. He was a founding member of Les XX in 1883 and later La Libre Esthethetique he also participated in the exhibition of le Salon de la Rose + Croix. Les XX was not a particular school of art and did not have a uniform manifesto, but its exhibitions focused on decorative arts by encompassing art for all people via common, everyday objects. The Periodical, L'art moderne was founded to support this ideal by Edmond Picard and Maux. Les XX declared art as independent art, detached from all official connections. Khnopff designed the 1890 catalogue cover of Les XX and the 1891 cover. These designs show decorative element of Art Nouveau in an early example of "modern poster." Les XX pursued all art including graphic arts, prints, placard, posters and book illustrations and design. These forms of art were l'art social and this movement was formed by the social atmosphere in Belgium in terms of social reforms and strikes by working class. Khnopff designed the book cover for la Maison du Peuple. The artist, however, did not share the ideal egalitarianism of the working class to a certain degree, while he was working in his villa he designed under the ideal motto, "on n'a pas que," he expressed the nihilistic emotions toward society by the theme of interiority such as solitude, silence, narcissism, introspection, and introversion. In the middle of his Symbolism, we find the "cultural nostalgia" or longing that the artist develops in the I Lock My Door upon Myself. Khnopff's longing toward the lost city of "Bruges" form the crux of his "Social Symbolism."

• Journal of Korean Society of Forest Science
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• v.87 no.2
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• pp.131-144
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• 1998

Understanding of the reasons why users in recreation settings select particular trails may provide useful information for effective recreation resources management. This study investigated the present use of the major trails in Mudeung-san Provincial Park and the major influential factors on trail selection. This study was conducted in Mudeung-san Provincial Park stretching over Hwasun-gun and Damyang-gun of Chonnam Province and Kwang-ju city during August in 1996. Data were collected through on-site survey and mail-back questionnaire. 519(44.2%) out of 1173 survey samples were used for analysis. Reasons for selecting a particular trail were classified into 8 major factors. In overall, the order of the importance degree of the factors was 1) aesthetics of landscape, 2) safety(from physical and crime), 3) conditions for health, 4) quietness, 5) familiarity, 6) on the way to the destination, 7) convenience/social, 8) others' intention. There were differences in the degree of importance of each factor depending on trails, users' characteristics(eg., gender, age, group size, visit experience, etc.) and users' behavioral patterns. Recreation motivations were classified into 5 major factors. The order of the importance degree of the factors was 1) contacting with nature, 2) self-training, 3) solitude, 4) social interaction, 5) appreciating cultural properties. Regardless of trails, 'contacting with nature' was the most important factor, and the degree of importance in the other 4 motivational factors showed only a little differences in order according to the trails. There were correlations between major factors for trail selection and recreation motivations. The results of this study may provide foundational information for establishing effective management strategies through better understanding of the present use of trails and influential factors on trail selection. It can be used for reducing the present social and ecological problems caused by use concentration on certain trails and providing users with better quality of diverse recreational experiences. This study discussed the findings, and suggested some management strategies based on these information.

• Korean Journal of Environment and Ecology
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• v.26 no.4
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• pp.604-619
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• 2012

According to the concept of woodland aesthetic in Germany and forest design in United Kingdom, artificial forest should be restore ecologically step by step in National Park, Korea. This study was carried out to provide the density criterion of thinning for the inducement of the ecological succession by analysing of vegetational structure in Artificial Forest, National Parks. Eleven plots(size is $20m{\times}20m$) were set up in the artificial forest such as Pinus koraiensis forest, Abies holophylla forest, Chamaecyparis obtusa forest, Populus tomentiglandulosa forest, and Larix kaempferi forest and in the natural forest such as Pinus densiflora community, Pinus densiflora-Quercus serrata community, and Quercus serrata community in Chiaksan, Songnisan, Deogyusan, and Naejangsan National Parks, Korea. We classified the artificial forest into undeveloped type of succession, type of alien young trees developing, and early phase type of succession based on the vegetational structure. According to the index of Shnnon's diversity(unit: $400m^2$), undeveloped type of succession was ranged from 0.9681 to 1.1323, type of alien young trees developing was ranged from 1.0192 to 1.1870, early phase type of succession was ranged from 1.3071 to 1.3892, and natural vegetation was ranged from 1.2202 to 1.3428, therefore early phase type of succession forest and natural vegetation are more higher than simple-layered artificial forest with one needle leaf tree species. The limit for the step-by-step thinning was in the range of 30~60%. In case of undeveloped type of succession, we should thin out from large trees throughout three phases, because alien species dominated high value 88~90% in canopy layer. In case of type of alien young trees developing, we should thin out from alien young trees such as Populus tomentiglandulosa throughout one or two phases, because alien species dominated high value 60~97% and young trees with saplings growing up in understory and shrub layer. In case of early phase type of succession, we should thin out from alien trees that compete with native species throughout one or two phases, because alien species dominated less than value 30%.

• The Journal of the Convergence on Culture Technology
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• v.7 no.1
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• pp.175-183
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• 2021

Gongjae Yoon DuSeo(1668~1715), from Haenam in the late Joseon Dynasty, is a scholar-born painter who was active during King Sukjong. He is the person who created the foundation as a pioneer of realist paintings in the late Joseon period during the transition from the middle to the latter period. He was born in Namin's prestigious family, but he ended his career as part of a partisan fight and immersed himself in painting and learning. 18C, the beginning of the late Joseon Dynasty, was a period when Silhak emerged and the Jinkyung era opened with awareness of nationalism. At this time, by incorporating the Silhak thought into the art world, the real reformed aesthetic consciousness was demonstrated to pioneer common people's customs, the application of Western painting methods, the pursuit of realist techniques, and the introduction of Namjongmuninhwa. His view of painting, who thoroughly learned the old things and pursued change, must have both the form and spirit that he can achieve 'HwaDo' only when it has the science of 'learning and knowledge' and the technical elements of 'practice and quality' emphasized. He has worked in a variety of reconciliations. In particular, portrait paintings are characterized by ihyeongsasin's realistic expressions of aesthetics. His masterpiece, 「Self-portrait」, excels in extreme-realistic depiction and innovation in composition, and stands out with an unconventional experimentation spirit that expresses his mind and thoughts in a painting with a sense of resentment. His landscape paintings combine to express the form as it is and mental notions, and beautifully embodied Do as a form, thus achieving ihyeongmido, which reached the level of'joyfulness forgotten even the heart of joy'. On the other hand, the generalization of the common people using various common people's lives as the subject of an open-mindedness aimed at gaining the facts of ihyeongsajin, a passive protest against corrupt power and an expression of a spirit of love. Since then, his painting style has been passed down from generation to generation to his eldest son Yoon Deok-hee and his grandson Yoon Yong, leading the change and revival of calligraphy art in the late Joseon Dynasty.