• The Research Journal of the Costume Culture
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• v.18 no.5
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• pp.977-990
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• 2010

Today, as individuals show their social identities and reflect their being as the members of society with a culture, an art style and communication function are stood out in fashion photographs. Accordingly, the meanings of images into text are expanded in its interpretative width through the acceptor's various terms. This researcher looked into four theories of both positions on the textuality of language and image, and considered the point of discussion on image of each theory through modern fashion photographs. First, the theory which divides language and image as auditory and visual recognitions in the textuality of language and image is limited from the view it focuses on only one side without considering the ambivalent elements of each field. For the textuality in modern fashion photographs, the observer attempts to turn it into text to give meaning to it as the recognition through five senses conforming to the acceptor's condition. Second, the theory dividing language and image into the text of time properties and spacial properties has limitation in the text, for acceptor's experience of the object appears as the structured form in time and space rather than being defined as two things like time and space. Third, the theory classifying the language and image text into conventional taste and natural taste has limitation from the view that image text is hardly an object of consistent classification in ease of recognition by the code accepted in society. Thus, this can't be fundamental approach for the understanding of the text of decoding trend represented in modern fashion photographs. Fourth, accordingly, this researcher focussed on contextual and arbitrary text of fashion photographs through the theory of Nelson Goodman which discusses image text through the differences in textuality. Basic mechanism of perceiving and recognizing and distinguish image is closely related to habit and custom like language. So, each acceptor perceives the image as a text through arbitrary interpretation obtained by individual, empirical, historical, and educational viewpoints. The textuality of modern fashion photographs aims to widen the range of diverse knowledge and understanding, transcending the regulations of simple function of existing fashion photographs. Consequently, this researcher puts forward the opinion of consistent and diverse follow-up studies on instilling meaning into fashion photographs for the understanding de-regulatory and de-constructive through various senses by avoiding only one sense-dependent fixed and regulatory properties of it.

• 기호학연구
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• no.54
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• pp.177-203
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• 2018

On this study, we analyzed the movie With gods's narrative structure. This movie makes most people who has seen it feel deeply moved. We think that people can get deep feeling from a film at last after people who has seen the movie accept a context, story, and a message of the movie gladly. We focused on a special system in this movie With gods that can make give an ordinary message and big touch to people. Also we focused on every episodes of every space in a movie, and someone who moved freely between the spaces. A repetitive form and repetitive contents in a narrative become a special code itself -repetitiveness- for people and make them do auto-communication. Specifically, an information, the movie's repetitiveness, out of people become a special code for them, and then that make people bring memory and new information by themselves. Watching movie, people can look back up on life with every trial in the movie. In short, a repetitiveness and an auto-communication are a special system in the movie, that can make deeply touched.

• Journal of the Korean Institute of Landscape Architecture
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• v.49 no.5
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• pp.97-111
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• 2021

The purpose of this study was to analyze commemoration characteristics of the United States of America, the Commonwealth, and Germany through representative 14 military cemeteries of World war II in Western Europe. Based on the commemoration characteristics such as spacial characteristic, commemorative elements, and graves and headstone, the commemoration culture among U.S., the Commonwealth. and Germany were studied comparatively. The results are as follows. First, taking geometrical form with mainly square type, rarely circle and spiral patterned, most cemeteries were structured spatial central axis with symmetry, those cemeteries were styled neoclassical, but some of the U.S. cemeteries were modernistic, connecting spaces organically with curved line layout. Second, chapel, the wall of missing, the wall of battle map, and sculpture in the U.S military cemeteries, and 'the cross of sacrifice' and 'the stone of remembrance' as classical monument in the Commonwealth war cemeteries were commonly applied standardized commemorative elements, but commemorative monuments in German military cemeteries were restricted except monumental cross. Third, the symbolic cross of christianism was used all cemeteries to console and cherish the soul of soldiers, specially the Latin crosses in the U.S military cemeteries delivered political message as the american martyr for Western Europe and also the power of the U.S., but the cross in German and the Commonwealth war cemeteries were basically cherish and comfort individual spirit. Fourth, showing the power of victory with national patriotism, the U.S. strongly represented christianism and liberal democracy against communism, the Commonwealth showed imperialistic style, and German military cemeteries were quietly appeared as traditional style forwarding reconciliation and peace. This study suggest the war cemeteries have national identity with typical form and symbolic aesthetics. Further study will be required to materialize sublime commemoration in national cemeteries and to form advanced commemorative culture in Korea.

• Korean Journal of Heritage: History & Science
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• v.46 no.1
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• pp.318-345
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• 2013

This study was carried out with a focus on the factor on the periodical space organization of Daebodan (大報壇: the altar of great recompense) in Changdeok Palace, which is significant in terms of political history in the late Chosun Dynasty, and consider the factors in the formation of the structural system through historical records and drawings. Daebodan has the ideology of righteousness to the Ming Dynasty which the hierarchy of the Joseon Dynasty. who felt the crisis of the domination order, imposed as a solution after the Manchu war of 1636. In addition, Daebodan was built by complex factors that entailed the self-esteem of the 'Joseon Centralism Ideology (朝鮮中華)' and the desire of the sacrificial rituals for Heaven that were imminent to the kings of Joseon. Superficially, Daebodan has the spatial organization of the Sajik (社稷) Altar and the placement of an annex building, but had the applied placement due to limited topography and access to the backyard. Furthermore, the lateral structure of Daebodan multiply accepted various factors of the nine step's stairs, the hight of five cheok (尺), the circumstance of two floors that were showed in the altar and platform with small fences and an imperial order including the internal form of Hwangjangbang (黃帳房). Moreover, the name of the alter came from 'the Jiaote Sheng Book of Rites(禮記 郊特牲)' representing 'the suburban sacrifice ritual for Heaven (郊天)', and it was built by not only combining the system of the Sajik Altar in the Joseon Dynasty and China but also avoiding 'excessive etiquette (僭禮).' The point is a remarkable feature shown by the structural system of Daebodan. Thus, it is considered that the 'Notion of Confucian-Cultural Succession (中華繼承意識)' and the desire of the sacrificial rituals for Heaven were expressed by the structure and form of altar. This study examined the process of the creation, expansion, decline and disposal of Daebodan in a chronological order, and found that the ruling ideology of the governing elite by the political and cultural background of the era at each transitional point was reflected in the spatial formation of the altar. On the other hand, as a result of performing a field survey to find the location in accordance with Daebodan in drawing materials, there remains items such as worked stones from Daebodan, precast pavers and fragments of proof tile discovered in the surrounding of tora vine (Actinidia arguta) which is a natural monument of Changdeok Palace. As such, verification through future excavation and investigation is required.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.1
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• pp.1-11
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• 2010

This study examines the authentic meaning, location, garden layout, and structural characteristics of Suwoojae(守愚齋), the birth house of Garam Byungi Lee, which was the very epitome of the traditional house structure based on literature review, field survey, and the existing measured drawings. The followings explain how rusticity and spirit of scholars, the core concepts of Garam's poetry, were featured in structural and spacial arrangements of Suwoojae as well as its location and physical layout. 1. Suwoojae is enclosed by Cheonho mountain which fans out of Noryoung mountains in East and located on the tail of Yongwha mountain in West. It has proved to be Yangtack Myoungdang according to the Poongsoo theory, Inguljiryoungron; The energy of earth at a certain location results in the better fortune together with the energy emitted from human body. 2. Suwoojae is an official local monument which was built in 1844, late Joesoen Dynasty by Joheung Lee, Garam's grandfather. Some parts of inner-structure connect with the kitchen in the shape of called Gopae. Suwoojae consists of 4 Sarangchae, 3 Gobangchae, and a Jangdokdae behind Anchae. 3. Since inner and outer walls of Suwoojae are distinctly separate from the main structure, its look varies significantly from different angles. Suwoojae, in its entirety, discloses Garam's philosophy, ideas, and ideology on life and the universe. 4. Apricot trees, Japanese-magnolias, aromatic-trees, crape myrtle, white-magnolias, camellia-trees were planted on the left of the walls, and persimmon trees, jujube trees, plum trees, quince trees were at the inner-yard. Especially, trifoliate orange trees a natural monument of Jeonrabukdo draw substantial attention from visitors. 5. The main garden facilities are located in front of Sarangchae: A rectangle pond(14.72m in length and 3.87m in height), the surroundings of the pond and Anchae, rocks that have distinctive shapes. In general, the garden was designed to incorporate the scenery around Suwoojae as a part of its structure and contain the love for nature and aesthetic sense. 6. It seems that the natural surroundings of Suwoojae had helped form motives of Garam's poetry and assisted him in finding subject-matters and identifying the themes of his works. This is well revealed in his poem, Seungwoonjungee.

• Land and Housing Review
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• v.4 no.1
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• pp.77-87
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• 2013

About 1,800 villages have released from Greenbelt since Greenbelt-reform-policy for readjustment of the area was promoted after 1997. Even though the government intended to attract planned development & improvement of these lifted villages through District Unit Plan and designating the lifted area as low-rise and low-density zoning considering the characteristics of the Greenbelt region, there are still many problems to be solved: a lack of funds, insufficient capability for self-improvement and unexecuted SOCs in long-term etc. It seems that these problems are caused by focusing on the lifting areas itself instead of researching deeply the condition and characteristics of the villages and searching proper direction/plans of improvement before lifting Greenbelt In addition, the existing plan of village improvement and management was not considering physical and spacial characteristics of the areas, social and economic situation of residents and relationship between the villages and surrounding cities, though these conditions are different among each villages, and the related regulations are applied uniformly across all the villages and those have been causing many civil appeals and environmental problems. In these respects, this study aims to consider the problems of the lifted villages using the existing researches on them and to make typology by characteristics-data of the villages and to establish improvement strategies of each types. In this study, the villages were classified into 5 types as a result of cluster analysis on 424 villages among all 1,800 through variables of locational potentiality : location, accessibility, size and form of village, condition of regulations etc. According to function of the villages, they were divided into 4 types: urban-type, rural-type, industrial-type and neighborhood-centered-type. This study also drew 4 improvement-strategy-types by combination of locational potentiality and village-function : type of improving life-environment, type of improving production-infra, type of inducing-planned-improvement and type of constructing center-of living-circle. Finally, this study suggested the directions of the each 4 types to desirable improvement and management which could be used to make and complement plans for village improvement.

• Archives of design research
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• v.12 no.4
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• pp.231-241
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• 1999

This study propose to analyze the design method and the form elements of museums, of works by Richard Meier, and through the analysis, spacial characteristics of museums will be understood. The museum works of Richard Meier, as an exhibition space, not only display the art works efficiently, but they also offer visitors the opportunity to experience the art of architecture, as a cultural space. Richard Meier, when working on the projects, has utilized the design methods and the architectural language, learned from Mies van der Rohe and Le Corbusier, resourcefully. Having the structural grid as basis, the rational rectangular forms were intended for exhibition space, while the circular and partial circular forms of geometry were utilized in formative space. This was able to maintain the balance between functional and formative space. In the museums of his works, the ramp and the glass wall separated from the structure become very important means of expression. The ramps, not only make people to enjoy the interior and exterior of museum, but also able them to see the works of art from different distances and angles repeatedly and the large glass wall reveals the various shapes of interior to exterior. In comparing with the design method and language of two masters mentioned, the design principles and elements, developed by Meier were applied to the site plans, exhibition space planning and elevations to manifest its originality. The design concept, derived from the urban fabric and historical buildings around, gave harmony to the museum with its surroundings, and employing the deformed axis brought variation and the effect of diversion to the site plan. The exhibition space is much vitalized by the well arrangement of various exhibition fixtures in the museum. The exhibion fixtures, which the partitions, shelves, miches, and stages were put together in flexibility, play multiple roles as partitions dividing spaces, as furniture displaying art works, and as elements creating forms. The systematically arranged fixtures, also produce several visual axes and centers, which have visitors appreciate the works of art in various perspectives, hence create a unique environment.