• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.3
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• pp.97-110
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• 2012

This study aimed at considering the original shape of Iljiam Tea Garden at Mt. Daedun. In order to accomplish our goal, we tried to strengthen the authenticity of construction of Iljiam by comparing its space structure depicted in the poetry of Choeui(艸衣) the monk with its current restored state. According to the clues and situation in the poetry along with symbolic words like 'Choeui' and 'Ilji(一枝)', Iljiam seemed to be a tea garden with elegant and celestial beauties, and with a nice view where Choeui the famous monk searched for the highest state of enlightenment by enjoying and living in nature. When we compared the plural aspects of Iljiam like Dacheon(茶泉), Dajo, Mulhwak, Darim(茶林), Chaewon(菜園), and Yeonji(蓮池) with those of Dasan Tea Garden[茶山草堂], we could see that the basic components of tea-culture space of both gardens are the same, showing the organizational principle of the top and bottom area to stress reading and studying. When it is restored, the authenticity of Iljiam should be pursued by linking spatial, historical, and landscaping characteristics as the space of which Choeui the monk carried out Zen meditation and mastered tea. However, the recent grand scale Buddhist business like the expansion of access road and construction of Buddhist sanctuary and Seolimdang became the biggest threat to the authenticity. Especially, it was emphasized many times in various poetry that the view from Iljiam and its surroundings is extraordinary, so it is critical to get rid of obstacles to the view from Iljiam and its surroundings in order to restore Iljiam as its genuine form. The current Iljiam should be re-made because it is like a leaf-roofed garden, not like a hermitage. However, the opinion that Jawoohongryeon-sa(紫芋紅蓮社) is somewhat a Taoistic and Taoist hermit space with a special shape adopted the pattern of building of the Joseon period rather than a Buddhist building can be accepted as long as other convincing historical evidences are found out, considering the ideology of uniting Confucianism and Buddhism and the spirit of Taoist hermit found out from poetry of Choeui and his friends. In conclusion, the restoration of Iljiam in 1979 was carried out to restore the place of Iljiam rather than to restore the originality of Iljiam by combining and referring domestic cases of tea gardens. However, there is not much material for restoration even though the main frame of Iljiam was distorted. Nevertheless, the top and bottom ponds should be constructed as a rectangle shape. In addition, it can be improved much in terms of plants and trees. It is necessary to restore bamboo forest, which was razed in order to make a tea plantation around Seolimdang, to set vines of arbors above the upper limbs, to plant pine trees and willow trees inside of the garden, and to put Dajeolgu under the corner of the eaves. Especially, the bamboo forest emphasized in poetry and took care of by Choeui himself should be restored inside of the garden.

• Korea Science and Art Forum
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• v.37 no.4
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• pp.205-216
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• 2019

Today, there have been more museums with architectural freeform structure. From an academic perspective, that caused a change in the paradigm of the genealogy of architectural forms. Accordingly, it has been required to find whether the freeform architecture influences an exhibition space. Therefore, in order to analyze the correlation between freeform architecture and exhibition space, this study looks into the tendency of actual freeform architecture through case analysis after 2000. An exhibition space of museum serves as a socially, culturally, and locally symbolic icon and has the function of delivering information to viewers through the aesthetic presentation of articles on exhibition. This study is meaningful in the point that it drew the conclusion of the correlation between freeform architecture and exhibition space in order to infer that a freeform exhibition space is more effective at viewers' spatial experience. The method and results of this study are presented as follows: Firstly, literature survey on the concept of the freerform architecture of museum and the classification of architectural forms was conducted and previous studies were analyzed in order to establish criteria. Secondly, a case study was conducted through visits to Singapore, Germany, and the Netherlands in order to look into the current state and characteristics of freeform architecture and exhibition space. In this case, Karel Vollers' architectural freeform criteria were used for analysis. Thirdly, to prove the correlation between freeform architecture and exhibition space, each case was cross-checked on the basis of Karel Vollers' architectural freeform criteria and freeform exhibition classification, and then results were drawn. The study results are presented as follows: Firstly, EX(angle, ortho) of freeform architecture had a significant correlation with the diagonal form of exhibition space. That was proved 92.3% accurately more in the Netherlands and Germany than in Singapore. However, the curve form of exhibition space had a unclear correlation. In Singapore case, the curve form correlation was made through RO, FR, and TW. Secondly, freeform architecture had complex-typed combination with the diagonal and curve forms of exhibition space. In particular, N-02 and G-02 had a combination form, basically EX, and partially various forms so as to induce the complexity of free form. As such, architectural freeform makes it possible to achieve infinite transformation in various combinations. For responses, combinational approaches are required in multilateral ways. Based on this study, it will be planned to analyze the correlation between freeform architecture of museum and exhibition presentation.

• Korean Journal of Environment and Ecology
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• v.32 no.6
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• pp.686-697
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• 2018

Due to the advance in remote sensing technology, it has become easier to more frequently obtain high resolution imagery to detect delicate changes in an extensive area, particularly including forest which is not readily sub-classified. Time-series analysis on high resolution images requires to collect extensive amount of ground truth data. In this study, the potential of land coverage mapas ground truth data was tested in classifying high-resolution imagery. The study site was Wonju-si at Gangwon-do, South Korea, having a mix of urban and natural areas. KOMPSAT-3A imagery taken on March 2015 and land coverage map published in 2017 were used as source data. Two pixel-based classification algorithms, Support Vector Machine (SVM) and Random Forest (RF), were selected for the analysis. Forest only classification was compared with that of the whole study area except wetland. Confusion matrixes from the classification presented that overall accuracies for both the targets were higher in RF algorithm than in SVM. While the overall accuracy in the forest only analysis by RF algorithm was higher by 18.3% than SVM, in the case of the whole region analysis, the difference was relatively smaller by 5.5%. For the SVM algorithm, adding the Majority analysis process indicated a marginal improvement of about 1% than the normal SVM analysis. It was found that the RF algorithm was more effective to identify the broad-leaved forest within the forest, but for the other classes the SVM algorithm was more effective. As the two pixel-based classification algorithms were tested here, it is expected that future classification will improve the overall accuracy and the reliability by introducing a time-series analysis and an object-based algorithm. It is considered that this approach will contribute to improving a large-scale land planning by providing an effective land classification method on higher spatial and temporal scales.

• (The)Study of the Eastern Classic
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• no.50
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• pp.295-318
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• 2013

The purpose of this study was to define the 'caligraphy as a modern concept of art. For this purpose, it was necessary to exclude the elements betraying 'the caligraphy as a pure art' in reference to 'autonomy' as an indicator of modernity in order to reflect on the current topology of the caligraphy in our age. Checking the current conditions facing the caligraphy from the pre-modern, modern and post-modern perspectives will clarify the current topology of the caligraphy and further exploring 'the caligraphy as a post-modern art concept. To this end, this study defines the caligraphy 'as a pure formative art' and thereby discusses it in terms of nature and form. In terms of nature, the caligraphy should be subsumed into a spacial art, but it has a nature of a temporal art created and appreciated over time. Hence, among the spacial arts, the painting is most similar to the caligraphy, while among the temporal arts, the caligraphy is most similar to such rhythmic (of high mobility) or performing arts as music and dance. Merely, the painting does not reveal the flow of time on the canvas, while music and dance leave no residual in terms of audibility and visuality. All in all, the caligraphy is sort of 'temporal-spacial art' like dance in that the visible letters express the artist's sense of life on the plane over time like music. In terms of form, this study compares the caligraphy with engraving, wood print and character design to define the caligraphy as a pure art concept. The caligraphy as a modern art concept, namely, the autonomy of the caligraphy is associated with legibility and meaning in addition to the question whether it is an applied or a pure art. The legibility and meaning of the characters are not only the essential elements of the caligraphy but also are the factors limiting its autonomy, which must be a paradox. All in all, the legibility and meaning of the characters must be the key criteria for determining the caligraphy as a practical art or literary art or as a pure figurative art. In this context, this study discusses the caligraphy as a pure art by comparing it with the spatial art 'painting' and the temporal art 'music.' It might be impossible to define the caligraphy or a genre of art as an autonomous art of self-perfection and categorical identity. Moreover, any attempt to define the caligraphy would fail to interpret the caligraphy appropriately. Merely, we are obliged to position the caligraphy in the process of localizing 'their modernity' and thereby, discuss how to respond to their scheme.

• Journal of the Korean Association of Geographic Information Studies
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• v.24 no.1
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• pp.40-53
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• 2021

Research vessels(R/Vs) used for ocean research move to the planned research area and perform ocean observations suitable for the research purpose. The five research vessels of the Korea Institute of Ocean Science & Technology(KIOST) are equipped with global positioning system(GPS), water depth, weather, sea surface layer temperature and salinity measurement equipment that can be observed at all times during cruise. An information platform is required to systematically manage and utilize the data produced through such continuous observation equipment. Therefore, the data flow was defined through a series of business analysis ranging from the research vessel operation plan to observation during the operation of the research vessel, data collection, data processing, data storage, display and service. After creating a functional design for each stage of the business process, KIOST Underway Meteorological & Oceanographic Information System(KUMOS), a Web-Geographic information system (Web-GIS) based information platform, was built. Since the data produced during the cruise of the R/Vs have characteristics of temporal and spatial variability, a quality management system was developed that considered these variabilities. For the systematic management and service of data, the KUMOS integrated Database(DB) was established, and functions such as R/V tracking, data display, search and provision were implemented. The dataset provided by KUMOS consists of cruise report, raw data, Quality Control(QC) flagged data, filtered data, cruise track line data, and data report for each cruise of the R/V. The business processing procedure and system of KUMOS for each function developed through this study are expected to serve as a benchmark for domestic ocean-related institutions and universities that have research vessels capable of continuous observations during cruise.

• Journal of the Korean Institute of Landscape Architecture
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• v.50 no.1
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• pp.53-67
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• 2022

This study started from recognizing the need to study place identity from the perspective of residents experiencing the place in daily life. The subject area of the study, Shin-Cheorwon, Galmal-eup, Cheorwon-gun, Gangwon-do area, had a low population until the division of Korea in 1945. Since then, the residents have created the milieu under Shin-Cheorwon's regional historic and cultural context. Thus, the study on this area can show the formation of the interrelationship of the region and residents. The purpose of this study is to understand the meaning and identity of the everyday places of Shin-Cheorwon. Photovoice was chosen as the method for successful Participatory Research; Participant's active intervention stage, 'Documentation (4th step)', Narration (5th step), researcher's analysis stage 'Ideation (6th step)' were specifically used. As a result, the following characteristic of the places chosen by participants could be found: the meaning and relationship with the residents, similarities, and differences in people shown based on their age, length of residence, etc. Through this, participants recollected the past places, found the meaning of the place of the present, and deduced the placeness that Shin-Cheorwon should have in the future. The study identified the place identity that holds the perspective of the residents in their daily life and provides implications on the follow-up studies of place identity. In addition, it is expected that it will apply to urban planning and spatial design in further studies of how residents perceive the space formed by urban development using photovoice methodology.

• Journal of the Korean Society of Environmental Restoration Technology
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• v.25 no.4
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• pp.33-47
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• 2022

Wild boars(Sus scrofa) are expanding their range of behavior as their habitats change. Appearing in urban centers and private houses, it caused various social problems, including damage to crops. In order to prevent damage and effectively manage wild boars, there is a need for ecological research considering the characteristics and movement characteristics of wild boars. The purpose of this study is to analyze home range and identify land cover types in key areas through tracking wild boars, and to predict the movement connectivity of wild boars in consideration of previous studies and their preferred land use characteristics. In this study, from January to June 2021, four wild boars were captured and tracked in Jinju city, Gyeongsangnam-do, and the preferred land cover type of wild boars was identified based on the MCP 100%, KDE 95%, and KDE 50% results. As a result of the analysis of the home range for each individual, it was found that 100% of MCP was about 0.68km², 2.77km², 2.42km², and 0.16km², and the three individuals overlapped the home range, refraining from habitat movement and staying in the preferred area. The core areas were analyzed as about 0.55km², 2.05km², 0.82km², and 0.14km² with KDE 95%., and about 0.011km², 0.033km², 0.004km², and 0.003km² with KDE 50%. When the preferred land cover type of wild boar was confirmed based on the results of analysis of the total home range area and core area that combined all individuals, forests were 55.49% (MCP 100%), 54.00% (KDE 95%), 77.69% (KDE 50%), respectively, with the highest ratio, and the urbanization area, grassland, and agricultural area were relatively high. A connectivity scenario was constructed in which the ratio of the land cover type preferred by the analyzed wild boar was reflected as a weight for the resistance value of the connectivity analysis, and this was compared with the connectivity evaluation results analyzed based on previous studies and wild boar characteristics. When the current density values for the wild boar movement data were compared, the average value of the existing scenario was 2.76, the minimum 1.12, and the maximum 4.36, and the weighted scenario had an average value of 2.84, the minimum 0.96, and the maximum 4.65. It was confirmed that, on average, the probability of movement predictability was about 2.90% better even though the weighted scenario had movement restrictions due to large resistance values. It is expected that the identification of the movement route through the movement connectivity analysis of wild boars can be suggested as an alternative to prevent damage by predicting the point of appearance. In the future, when analyzing the connectivity of species including wild boar, it is judged that it will be effective to use movement data on actual species.

• Korean Journal of Environment and Ecology
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• v.37 no.3
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• pp.221-231
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• 2023

Great tit (Parus major) is a bioindicator species that can measure environmental changes in urban ecosystems and plays an important role in maintaining health as a representative insectivorous bird. Researchers have utilized artificial nest box surveys to understand the reproductive ecology of the Paridae family of birds, including the Great tits, but it is difficult to conduct a macroscopic study due to spatial and temporal limitations. This study designed and applied a citizen-participatory monitoring of artificial nest boxes project to transcend the limitations of expert-centered monitoring methods. The Suwon Front Yard Bird Monitoring Team installed artificial nest boxes in green spaces in Suwon, Gyeonggi Province and observed the reproductive ecology of the Paridae family through the participation of voluntary citizen surveyors. Participants were recruited through an online survey from February 9 to February 22, 2021, and they directly performed from installation to observation of artificial next boxes from February 23 to August 31, 2021. Online education was provided to the volunteers for the entire monitoring process to lower the entry barrier for non-expert citizen surveyors and collect consistent data, and observation records were collected through a mobile app. A total of 98 citizen surveyors participated in the citizen-participatory monitoring of artificial nest boxes project, and 175 (84.95%) of the 256 distributed artificial nest boxes were installed in green spaces in Suwon City. Among the installed artificial nest boxes, the results of the citizen science project were confirmed for 173 (83.98%), excluding two boxes with position coordinate generation errors. A total of 987 artificial nest box observation records were collected from citizen surveyors, with a minimum of one time, a maximum of 26 times, and an average of 5.71±4.37 times. The number of observations of artificial birdhouses per month was 70 times (7.09%) in February, 444 times (44.98%) in March, 284 times (28.77%) in April, 133 times (13.48%) in May, 46 times (4.66%) in June, 6 times (0.61%) in July, and 4 times (0.41%) in August. Birds using the artificial nest boxes were observed in 57 (32.95%) of the 173 installed artificial nest boxes, and they included Great tit (Parus major) using 12 boxes (21.05%), Varied Tit (Parus varius) using 7 boxes (12.28%), and unidentified birds using 38 boxes (66.67%). This study is the first to consider citizen participation in the monitoring of artificial nest boxes, a survey method for the reproductive ecology of the Paridae family, including Great tits, and it can be utilized as basic data for the design of ecological monitoring combined with citizen science in the future.

• 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 of Art and Design
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• v.11
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• pp.109-152
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• 2007

This thesis started from accepting the criticism and concretely seeking the possibility of visual visuality, in particular, visual physicality or physical visuality through the expression revealed in painting space. This study aims at stressing the role of the body in visual perception and pictorial expression by it by examining the interaction between it and the body. First of all, this study explored perception and the position of the body in the great frame of the historical stream from modernism, through minimalism, through post-minimalism to later art in order to confirm the interaction between visual perception and the body or the change in the intervention of physicality in the stream of contemporary art, and connected them with a discourse on perception and the body. It raised as the grounds for it the discussions which provided the theoretical background about perception. It dealt with the scientific discussions on perceptual physicality by Gestalt psychology in perceptive psychology, and next the discussion of Rudolf Arnheim who exemplified Gestalt psychology mainly on the dimension of visual art. It is significant in explaining the perceptual activeness which is the same as that of M. Merleau-Ponty as a primary debater to solve the questions of perceptual physicality and physical visuality. M. Merleau-Ponty set forth ambiguous perception and the body as its background as the fundamental bases for perceiving the world rather than consciousness proved explicitly. As Hal Foster said, as minimalist phenomenological background they provided appropriate theoretical background to the late art rising against modernist logic. Next, after the 1970s Frank Stella showed a working method and a tendency entirely different from those in the previous period. For example, deconstruction of frame, decentralized spatial expression, dynamic and mixed expression, and allowing real space by overlapping were judged to swing to approval of perceptual physicality. Francis Bacon's painting structure, that is, figure, triptych, aplat and a method of production by accident were understood to well reflect M. Merleau-Ponty's chair logic of chiasme. This study tries to seek the possibility of pictorial expression from works aiming at defining the question of seeing in connection with physicality, the role of the body as the body accumulated and the linking with a real, daily life as the background of the body, and confirm the phase shift.