• Title/Summary/Keyword: Spatial meaning

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A Study on the Landscape Elements and Distribution Characteristics of Mount Tai Appearing in Poems (시문(詩文)에 나타난 태산(泰山) 경관요소 및 분포특성 연구)

  • Yu, Ying;Jung, Taeyeol
    • Journal of the Korean Institute of Landscape Architecture
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    • v.49 no.6
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    • pp.80-92
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    • 2021
  • Mount Tai, with an elevation of 1,532 meters, has a reputation as 'The Most Revered of the Five Sacred Mountains(五嶽獨尊)', despite not being the highest mountain in China. The literati of the past dynasties created a multitude of works based on the landscape of Mount Tai. Traditional literature is a part of national culture that directly reflects the national characteristics and styles, and is an important part of humanities, which can be linked to landscapes. The purpose of this study is to investigate the landscape elements and characteristics of Mount Tai by analyzing the landscape types and elements and the Kernel Density, Mean Center and Standard Deviational Ellipse of the landscape elements appearing in the representative poems of traditional literature. The research results of this study are summarized as follows. First, Mount Tai is a scenic spot dominated by human activities, different from the natural landscape of prior research related to scenic spots. Second, among the landscape elements of Mount Tai, the importance of "sunrise", "cyan", "towering" and "majestic", "Divine Dragon" is confirmed, symbolizing the hope, brightness, vitality, national stability and prosperity represented by Mount Tai, which can explain the leadership position of Mount Tai. Third, it can be found from the poems about Mount Tai that various landscape elements were embodied in belief (the behavior of gods or emperors) in the Pre-Qin, Sui and Tang dynasties, while in modern times, landscape elements are shown by action (climbing and looking far into distance), so it can be said that the landscape elements have changed from belief landscapes to experience landscapes. Fourth, the spatial distribution of landscape elements in the past dynasties was widely distributed in the Daiding(岱頂). Approaching the modern times, the mean center moved from south outside of Mount Tai to the summit of Mount Tai, and the spatial distribution changed from a widely scattered distribution to narrow linear distribution centered on Mount Tai. The present study is of great significance to provide key factors or spaces for future landscape protection and restoration of Mount Tai.

A Study on Movement Characteristics of Dalgubal Drum Dance (달구벌 북춤 춤사위의 특성에 대한 고찰)

  • Choi, Won-sun
    • (The) Research of the performance art and culture
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    • no.42
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    • pp.147-181
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    • 2021
  • Dalgubal drum dance is inherited in a recreated form by incorporating regional symbolism and the dance philosophy and artisticity of Young Hwangbo, the creator, based on the traditional drum dance of the Yeongnam region. This dance having popularity with the transformation of traditional Korean culture has been invited not only to Yeongnam region including Daegu but also to international various venues. This study explores what the movement characteristics of this Dalgubal drum dance are and the unique charm and symbolic meaning of this dance. Specific analysis was conducted through analyzing Dalgubal drum dance video film of the 89th Korean Myeongmujeon's by using Laban Movement Analysis as a research method. The special features of this dance resulted from the LMA analysis in terms of the four categories-Body, Effort, Shape, and Space-reveal simple yet cheerful personalities and strong yet patient characteristics of the people in Daegu. The harmony of drum sounds(music) and movements(dance) creates various characteristics of dances and reveals the beauty and excitement of unique Korean dance. In particular, drum play and its related dance movements create curved linear spatial pattern of arm movements, Spiral Shape in body posture, and diverse floor patterns occupying whole stage space. These movements show the three-dimensional spatial beauty and the artistic ideas for recreation of traditional drum dance, which considered with the spatial structure of the proscenium stage. In addition, the well-organized structure and harmonious movements of this dance show the traditional Korean philosophy, implying heaven, earth, and human being and the wholeness, and the harmony of yin and yang. The dance aims at communication between the audiences and dancers through sharing excitement and the aesthetic beauty of dance. This can be interpreted as a meaningful expression of traditional Korean philosophy developed with the unique value and characteristics of Korean dance.

A Study on Lee, Man-Bu's Thought of Space and Siksanjeongsa with Special Reference of Prototype Landscape Analyzing Nuhangdo(陋巷圖) and Nuhangnok(陋巷錄) (누항도(陋巷圖)와 누항록(陋巷錄)을 통해 본 이만부의 공간철학과 식산정사의 원형경관)

  • Kahng, Byung-Seon;Lee, Seung-Yeon;Shin, Sang-Sup;Rho, Jae-Hyun
    • Journal of the Korean Institute of Traditional Landscape Architecture
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    • v.39 no.2
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    • pp.15-28
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    • 2021
  • 'Cheonunjeongsa (天雲精舍)', designated as Gyeongsangbukdo Folklore Cultural Property No. 76, is a Siksanjeongsa built in 1700 by Manbu Lee Shiksan. In this study, we investigate the life and perspective of Manbu Lee in relation to Siksanjeongsa, and estimate the feng shui location, territoriality, and original landscape by analyzing 「Nuhangnok」 and 「Nuhando」, the results of his political management. The following results were derived by examining the philosophy that the scholar wanted to include in his space. First, Manbu Lee Shiksan was a representative hermit-type confucian scholar in the late Joseon Dynasty. 'Siksan', the name of the government official and the nickname of Manbu Lee, is derived from the mountain behind the village, and he wanted to rest in the four areas of thought(思), body(躬), speech(言), and friendship(交). During the difficult years of King Sukjong, Lee Manbu of a Namin family expressed his will to seclude through the title 'Siksan'. Second, There is a high possibility of restoration close to the original. Manbu Lee recorded the location of Siksanjeongsa, spatial structure, buildings and landscape facilities, trees, surrounding landscape, and usage behaviors in 「Nuhangnok」, and left a book of 《Nuhangdo》. Third, Manbu Lee refers to the feng shui geography view that Oenogok is closed in two when viewed from the outside, but is cozy and deep and can be seen from a far when entering inside. The whole village of Nogok was called Siksanjeongsa, which means through the name. It can be seen that the area was formed and expanded. Fourth, the spatial composition of Siksanjeongsa can be divided into a banquet space, an education space, a support space, a rest space, a vegetable and an herbal garden. The banquet space composed of Dang, Lu, and Yeonji is a personal space where Manbu Lee, who thinks about the unity of the heavenly people, the virtue of the gentleman, and humanity, is a place for lectures and a place to live. Fifth, Yangjeongjae area is an educational space, and Yangjeongjae is a name taken from the main character Monggwa, and it is a name that prayed for young students to grow brightly and academically. Sixth, the support space composed of Ganjijeong, Gobandae, and Sehandan is a place where the forested areas in the innermost part of Siksanjeongsa are cleared and a small pavilion is built using natural standing stones and pine trees as a folding screen. The virtue and grace of stopping. It contains the meaning of leisure and the wisdom of a gentleman. Seventh, outside the wall of Siksanjeongsa, across the eastern stream, an altar was built in a place with many old trees, called Yeonggwisa, and a place of rest was made by piling up an oddly shaped stone and planting flowers. Eighth, Manbu Lee, who knew the effects of vegetables and medicinal herbs in detail like the scholars of the Joseon Dynasty, cultivated a vegetable garden and an herbal garden in Jeongsa. Ninth, it can be seen that Lee Manbu realized the Neo-Confucian utopia in his political life by giving meaning to each space of Siksanjeongsa by naming buildings and landscaping facilities and planting them according to ancient events.

Examination of Urban Gardening as an Everydayness in Urban Residential Area, Haebangchon (도심주거지에 나타나는 일상문화로서의 도시정원가꾸기에 대한 고찰 - 용산구 용산동2가 해방촌을 중심으로 -)

  • Sim, Joo-Young;Zoh, Kyung-Jin
    • Journal of the Korean Institute of Landscape Architecture
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    • v.43 no.2
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    • pp.1-12
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    • 2015
  • This study explores urban gardening and garden culture in residential area as an everydayness that has been overlooked during the modern period urbanization and investigates the meaning and value of urban gardening from the perspective of urban formations and growth in spontaneous urban residential area, Haebangchon. The result identified that urban gardening as a meaning of contemporary culture is a new clue to improving the urban physical environment and changing the lives and community network of residents. Haebangchon is one of the few remaining spontaneous habitations in Seoul, and was created as a temporary unlicensed shantytown in 1940s. It became the representative habitation for common people in downtown Seoul through the revitalization of the 60s and the local reform through self-sustaining redevelopment projects during the 70s through the 90s. This area still contains the image of times during the 50s to the 60s, the 70s to the 80s and present, with the percentage of long-term stay residents high. Within this context, the site is divided into third quarters, and the research undertaken by observation and investigation to determine characteristics of urban gardening as an everydayness. It can be said that urban gardening and garden culture in Haebangchon is a unique location culture that has accumulated in the crevices of the physical condition and culture of life. These places are an expression of resident's desires that seeking out nature and gardening as revealed in densely-populated areas and the grounds of practical acting and participating in care and cultivation. It forms a unique, indigenous local landscape as an accumulation of everyday life of residents. Urban gardens in detached home has retained the original function of the dwelling and the garden, or 'madang', and takes on the characteristic of public space through the sharing of a public nature as well as semi-private spatial characteristic. Also, urban gardens including small kitchen garden and flowerpots that appear in the narrow streets provide pleasure as a part of nature that blossoms in narrow alley and functions as a public garden for exchanging with neighbors by sharing produce. This paper provides the concept of redefining the relationship between the private-public area that occurs between outside spaces that are cut off in a modern city.

A Study on the Meaning and Mount Effect of Twelve Peaks of Musan in Yongho Garden, Jinju (진주 용호정원(龍虎庭園) 무산십이봉의 경관의미와 축산효과)

  • Lee, Hyun-Woo
    • Journal of the Korean Institute of Traditional Landscape Architecture
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    • v.29 no.4
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    • pp.27-39
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    • 2011
  • The study on Musan twelve peaks of Yongho garden in Jinju, Gyeongnam was anticipated to provide data and implication for reproducing similar spaces and modern changes in terms of design factor since it is the prototype of traditional mount for overcoming monotonous geographical features and intriguing changes and interests. The study analyzed and interpreted the symbolism of twelve peaks, principles of space composition and function and effect of visual construction that were pursued by the builder in terms of landscape view, which results are as following. The center of Yongho garden, Yonghoji(龍虎池) is a typical man-made pond for a supportive feng shui feature. It is a supporting equipment to complete the state of feng shui, and the result of strengthening the completion through the connection with the dragon-related name of the place. The shape of Musan twelve peaks looks like an oval form of Geumseongsan(金星山), 2~3.5m in height and 6~12m in diameter. Peaks are estimated as 1.5~3.7m(2.4m in average) in height, $35{\sim}138m^2$($73.4m^2$ in average) in area, and $30.7{\sim}115.0m^3$($62.5m^3$ in average) in volume. Given that Yonghojeong(龍虎亭), Soseon(小船), the site of main building and Yongsanjae(龍山齋) stand in line, Yonghoji was presumed as the state of enlightenment through ascribing the meaning to virtue and secularity. For the intention of realizing Musan twelve peaks, the builder probably had mounted twelve peaks forming the body of dragons with crossing the point corresponding to a head of tiger, and located Musan twelve peaks and Yonghojeong with a representation of dragons holding Cintamani rising into the sky in the center. The middle area near Musan twelve peaks surrounded by peaks like Geumseongsan running north and south shows a multi-structure of multilayer, maintaining the similarity centering on Yonghoji. It is considered the intention of mount planned at the time of Musan twelve peaks construction, caused by similar form harmony. Internalization of progressive realization through concealment and exposure, enframement effect and spatial order like prospect-refuge theory in the mount of Musan twelve peaks is considered the reflection of the intention to increase depth of the view and expectancy through the various degree of exposure and surroundings of each peak and the colorful combination of viewing and shutting. The "closed view" by Musan twelve peaks creates interesting, vivid and attractive recognition of the view, which is more effective in bringing depth of the view and interests in terms of the geographical design, particularly the area around Yonghoji. Moreover, it was identified that the combination of peaks can be formed resulted from the view configuration concerning the location through multilayer effect reveals an island through the other one when viewed from Yonghojeong.

A Study on Placeness of Gwangju Art Street Looked through Experience of Life Subjects (생활주체의 경험을 통해 본 광주 예술의 거리 장소성 연구)

  • Kim, Yeon-Gyeong;Lee, Mu-Yong
    • Journal of the Korean association of regional geographers
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    • v.21 no.3
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    • pp.529-552
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    • 2015
  • This study aims to analyze the placeness of Gwangju Art Street and the changing process of the street, looked through the experiences of life subjects living in this street. For this purpose, at first, history before art street was designated was traced by reviewing geographical characteristics and spatial transformation of the Art Street with the trend of Gwangju art scene and economic political situation. And then, in order to analyze the placeness of Gwangju Art Street, formation factors of placeness are extracted into physical element, behavior element and semantic element. Physical element and behavior element were analyzed through in-depth interview and data analysis for individual and microscopic historical process of life subjects being experienced in the street that is contrary to policy and plan. Finally, a semantic element was identified through questionnaire as to how people recognize current art street through a history being experienced as a venue of conflict of meaning. It is implied that bottom up place making policies that may connect context of the formation of placeness with the viewpoint of life subject in the Art Street is required to be presented now.

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Planning the New City Based on the Geomancy: A Case of the Design of the New Multi-functional Administrative City (NMAC) (경관풍수에 입각한 신도시의 개념적 설계 : 행정중심복합 예정도시를 사례로)

  • Seo, Tae-Yeol;Ock, Han-Suk
    • Journal of the Korean Geographical Society
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    • v.40 no.5 s.110
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    • pp.491-513
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    • 2005
  • The Republic of Korea is planning to build the now Multi-functional Administrative city (NMAC). The purpose of this paper is to suggest the conceptual framework for this new city that relies on the Korean geomancy, oriental viewpoint on man and nature relationship, particularly in Korea. According to the Geomancy which could conceptualize the human-environment relationship in the site, the overall landscape image of the city could be symbolized by two flying crane with three Taegueks. In transforming the overall landscape image to urban form, two diamonds which means eternity and strength arises from the western spatial viewpoint, as means to protect and harmonize the human, land and mountain relationship in this site and the symbolic meaning of this site as generative and sacred place in Korean people's mind. On the one hand, through juxtaposing of the two diamonds a geometric structure shows up, on the other hand the main axis of the city could be established from two crane and three Taegueks. On the North-South axis from the core of the symbolic green axis, symbolic things will be located, and the administrative offices will be Placed on the East-West axis. Peripherals of the central axis also play a role in developing overall land use from image. The buildings and residents could be arranged and located according to undulations and this is based on the oriental theory of geomancy. We can build cultural amenities on the head part of the crane and on the core area.

Evaluating Applicability of Photochemical Reflectance Index using Airborne-Based Hyperspectral Image: With Shadow Effect and Spectral Bands Characteristics (항공 초분광 영상을 이용한 광화학반사지수 이용 가능성 평가: 그림자 영향 및 대체 밴드를 중심으로)

  • Ryu, Jae-Hyun;Shin, Jung Il;Lee, Chang Suk;Hong, Sungwook;Lee, Yang-Won;Cho, Jaeil
    • Korean Journal of Remote Sensing
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    • v.33 no.5_1
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    • pp.507-519
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    • 2017
  • The applications of NDVI (Normalized Difference Vegetation Index) as a vegetation index has been widely used to understand vegetation biomass and physiological activities. However, NDVI is not suitable way for monitoring vegetation stress because it is less sensitive to change in physiological state than biomass. PRI (Photochemical Reflectance Index) is well developed to present physiological activities of vegetation, particularly high-light-stress condition, and it has been adopted in several satellites to be launched in the future. Thus, the understanding of PRI performance and the development of analysis method will be necessary. This study aims to interpret the characteristics of light-stress-sensitive PRI in shadow areas and to evaluate the PRI calculated by other wavelengths (i.e., 488.9 nm, 553.6 nm, 646.9 nm, and 668.4 nm) instead of 570 nm that used in original PRI. Using airborne-based hyperspectral image, we found that PRI values were increased in shadow detection due to the reduction of high light induced physiological stress. However, the qualities of both PRI and NDVI data were dramatically decreased when the shadow index (SI) exceeded the threshold (SI<25). In addition, the PRI calculated using by 553.6 nm had best correlation with original PRI. This relationship was improved by multiple regression analysis including reflectances of RED and NIR. These results will be helpful to the understanding of physiological meaning on the application of PRI.

The Influence of Landscape Painting Concepts on Garden Design Principles in East-Asia - Focused on the Relationship between Chinese Painting Theory and Garden Theory - (동양그림의 경관관이 작정원리에 미친 영향 - 중국화론과 원림론의 관계를 중심으로 -)

  • Kim, Han-Bai
    • Journal of the Korean Institute of Landscape Architecture
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    • v.37 no.6
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    • pp.85-95
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    • 2010
  • East-Asian intellectual societies in the pre-modem age sustained a holistic system of poem-calligraphy-painting trinity until the coming of Western modernism. Therefore, it has been insisted that the principles of traditional landscape gardening were greatly influenced by those of landscape painting and related literature. This study examined those influences closely to discover the essence of traditional Asian landscape architecture through a comparative study between Chinese landscape painting theory and landscape gardening theory within the dual categories of 'contents(value and meaning)' and 'form(view and spatial structure)'. The most important theme of landscape painting theory in contents category was 'Chi and its Vitality(氣韻生動)'. The matching theme in landscape design field was 'Feng-Shui(風水)' and 'Yi-Jin'g(意境)'. The most important theme of landscape painting theory in formal category was 'the Three Ru1es of Perspective(三遠法)'. And the matching theme of landscape design theory was 'Yindi(因地)' and 'Jie-Jing(借景)'. The most important theme of landscape painting theory in formal category was 'the Three Rules of Perspective(三遠法)'. And the matching theme of landscape design theory was 'Yindi(因地)' and 'Jie-Jing(借景)'. It was found that themes and various principles of both fields were closely inter-related and have much in common in their representation of contents and form. In the close relationship with main art genres like this, the landscape gardening could have been recognized as one of the genres of fine art.

A Study on the Cultural Characteristics of the Design Material (디자인재료의 문화적 특성에 관한 연구)

  • 박종찬
    • Archives of design research
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    • v.11 no.3
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    • pp.149-162
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    • 1998
  • This study is what tried to examine the importance of material in industrial design. Then, if planning is to start of product design, the use of material is the last step to complete design. Design material has existed from the time before mankind were born, and the new material which is useful for human beings is developing rapidly. It is no exaggeration to say that our environment is the aggregation of material which was surrounded with us. Then, material has the timely, spatial and cultural feature as well as physical feature. Besides, all sorts of functions of communicating information are being contained in accordance with the character of material. The outside surface of material has the function to develop the sense organ of human beings. This study examines 4 kinds of cultural features in design materials and shown by findings is as follows : Rrst is the technical progressivity to lead new Design form. Second is the symbolic nature to perform the communication function. Third is the sensible attribute to develop surface effect of Design material. Fourth is the future-oriented nature to convince the future such as new material and technology etc. Thus, so as to perform the competitive product design, it is important to grasp the harmony between material and design, structure and processing, and the substantial meaning that the material has and apply them properly, above all. Because the discovery of material will be the measure to forecast future design.

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