• Korean Institute of Interior Design Journal
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• no.14
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• pp.82-89
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• 1998

During the boom of museum building in the 1970s-80s two museum wee erected in Germany. They are James Stirling's Neue Stattsgalerie Stuttgart and hans Hollein's Stadtisches Museum Abteiberg Monchengladbach, These two museums share the folowing point of similarity : Stirling's Neue Stattsgalerie Stuttgart and Hollein's Staditisches Museum Abetiberg Monchenbladbach both manifest the conditions of the times in light of their respective cities' local characters and historical contexts without being bound to traditional formality. Stirling and Hollein attempted to grasp the meaning of the 기nuseum as a city in miniature." Taking into account the t two museums’s territorial characteristics of being situated on a slope, both Stirling and Hollein made the walker to pass t through their building complex and introduced the concept of a public square within them. As a result, the museums are not j just two large buildings but are architecture composed of a collage of various structures. S Stirling’s architecture employs the method of attaching additional elements on top of basic constituents, which is suggestive '||'&'||'#61551; of the historical fragment from Shinkel's Altes Museum. On the other hand, Hollein applies a collage-style method as if he w were doing urban planning, maintaining the distinctiveness of each of the various forms and materials of buildings. T The object style buildings of the two museums actively demonstrate the contrast of double meaning to represent the a ambiguous and multifarious characteristics of the modern times. Stirling explores the theme of opposition and coexistence in h his Neue Stattsgalerie Stuttgart by placing a series of opposing concepts, such as the past and present and histor${\gamma}$ and t technology, in one space. Thereby, the contradiction and its appeal are manifested. Hollein made use of the visual illusion and c contradiction in alluding to the irony of the modern reality induced by nature and culture and history and technology. F For the above reasons and methods, James Stirling ’ s Neue Stattsgalerie Stuttgart allowed the penetration of art into daily l life and became the general public’s favored museum for its free and unrestrained environment. Likewise, Hans Hollein’s S Stadtisches Museum Abteiberg Moncbengladbach contribute to the development of museum function as it an expression of art i in the form of a complex piece of scupture on its own.ts own.

• Journal of the Korea Fashion and Costume Design Association
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• v.5 no.1
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• pp.33-45
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• 2003

This is a study that examines the fashion changes in the 20th century in terms of various subcultures in the period. Starting from defining the concept and the developing process of subculture, this study traces the history of subcultural styles from 1930s to 1990s, focusing on the way each generation resisted the main stream through its styles. This study is intended to provide a theoretical frame on the understanding of subcultural styles, with a close examination of its formative and developing process and characteristics. This study understands subcultural style as a way of deviate or resistant expression within a society. It differentiates itself from the main style by deliberately and publicly asserting its own identity, and, as a result, realizes in the form of fashion its repressed subconsciousness, resistance to the alienation from the society, and deviation from the normative ethics and morality of a society. The four types of subcultural styles presented in chapter 4 are based on their form of resistance, and they are classified and analyzed as follows: The first type is revision, which tries to revise and change the given form by adding new elements. There are two kinds of revision, one is dressing up, which dresses for success, and the other is minimal dressing. Hyperbole is the second type, which resists by emphasizing or hyperbolizing the main stream with its erotic, nihilistic, or dynamic forms. Two kinds of hyperbole are examined, one is hyperbole of masculinity, and the other is ostentatious hyperbole. The third type is reversal and rejection, which reverses the forms from the established sign system into its own secret code, or rejects the traditional taboos. This type include no dressing, and the reversal of sex identity. Isolation and redrawal is the fourth type, which tries to distance itself from the ritual code of the day. This type is divided into dressing of the escape from time, and dressing of the escape from space. The first group of this type is characterized by nostalgia or futurism. An emphasis is given on ethnicity, naturalism, or a closed space within a city in dressing of the escape from space. In conclusion, it can be said that subcultural style puts the foremost importance on individual freedom. Since 1990s, the distinction between the subcultural styles and high fashion gets somewhat blurred, while the liberal, sexual, life stylistic tension between the two groups are heightened.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.2
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• pp.99-107
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• 2011

This study is aiming to acquire data for enhancing genuineness of restoration through reviewing external and internal scenery of Baegun-dong Wonlim such as Baegun-dong 8 Objects of Scenery(pines, bamboos, chrysanthemum, orchid, maehwa blossom, magnolia, fiddle and crane) and 12 Scenic Spots and reviewing internal and external scenery of Baegun-dong Wonlim such as views and scenery for plantation. For Baegun-dong 8 Young which sang songs about scenic spots of Baegun-dong Wonlim it seemed that its head words were formed through borrowing rhyming words from caption of Baegun-dong Yuseogi(白雲洞幽棲記). Accordingly it seemed these scenery secured its status of Wonlim from the beginning. Particularly the words of fiddle and crane in 琴棋書畵(Geumgisuhha) implied that playing Komungo and brushwriting were firmly rooted as romantic pursuits of classical scholars of that time. In consideration of distance upto Okpanbong which is one of 12 scenic spots of Baegun-dong radius of outer circumference is estimated to be around 1.6km. From Okgpanbong, the epicenter, Sandagyeong, Baegokmae, Hongokpok and Pungdan etc. correspond to transitional space. And inner scenery was formed with hub of thatched cottages and bowers surrounded with chrysanthemums, poenies, rhododendron, Phyllostachys bambusoides, pines and upper and lower water paths. Thus it seemed there was scenic structure of centrifugal nature as well as of multiplicity. Forms of majority of water paths with residual structure found in the country have streamlined forms on the other hand Baegun-dong water paths have straight line which almost dominate inner gardens in terms of scale and forms thus revealing its extraordinary idea and design. In order to promote genuine restoration of Baegun-dong Wonlim it will be necessary to have consideration from standpoint of managing perspective to assure presentation of gradual scenery with elements of scenic objects for outer view among 12 Scenic Spots.

• Korean Journal of Heritage: History & Science
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• v.57 no.3
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• pp.116-137
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• 2024

This study quantitatively explored the interrelationship between water features and surrounding waterscape elements through a literature review and observational study targeting nine waterscapes of Suzhou Classical Garden in Jiangsu Province, China, which is designated as a UNESCO World Heritage Site. The purpose was to understand the objective characteristics of classical Chinese gardens and seek a basis for their differences from Korean gardens. The average area of water space in Suzhou gardens was 1,680.7㎡, which accounted for 21.3% of the total garden area, showing large variation by garden. Most of the Suzhou Gardens use springs and wells as their water sources. The Surging Waves Pavillion uses surface water, and Retreat & Reflection Garden uses seasonal water as its water source. The water pipes in Suzhou Garden are divided into a water outlet and a water outlet(water holes). Of these, the water outlet is a water outlet that imitates the water outlet just to induce a visual effect, and focuses on the meaning of the water system. It is judged to have been combined with the trend of Suzhou gardens. In addition, it was confirmed that, semantically, the arrangement of the water polo in Suzhou Garden is based on the traditional 'Gamyeo(堪輿) theory'. Meanwhile, there are five types of methods for bringing water to Suzhou Garden: Jiginbeop(直引法), Myeonggeobeop(明渠法), Invasionbeop(滲透法), Gwandobeop(管道法), and Chakjeongbeop(鑿井法). Suzhou Classical Garden mainly applies the infiltration method and the irrigation method as a method of securing water in the garden, which can be classified and defined as the water catchment method(集水法) and the water pulling method(引水法) in the domestic classification method. Among the watering techniques in Korean traditional gardens, watering methods such as 'suspension waterfall(懸瀑)', 'flying waterfall(飛瀑)' and water eluted(湧出), have not been found, and it is believed that they mainly 'rely on hide with dignity(姿逸)' and 'submerged current(潛流)' techniques. As for the watering technique, no watering technique was found that uses a Muneomi, which is applied in traditional Korean gardens. As this was applied, the seal method, penetration method, and Gwandobeop were also used in water extraction techniques. And at the inlet and outlet of Suzhou Garden, the main static water bodies were lakes, swamps, and dams. While the eastern water bodies are classified into streams, waterfalls, and springs, the water spaces in the three gardens reflect the centrifugal distributed arrangement, and the water spaces in the six places reflect the water landscape effect due to the centripetal concentrated arrangement. And as a water space landscape design technique, the techniques of 'Gyeok(隔)' and 'Pa(破)' were mainly applied at the inlet, and the techniques of 'Eom(隔)' and 'Pa(破)' were mainly applied at the outlet. For example, most bridges were built around the inlet, and sa(榭), heon(軒), gak(閣), pavilion(亭), and corridor(廊) were built, and the outlet was concealed with a stone wall. Therefore, it is understood to have embodied Suzhou Garden's idea of water(理水), which says, "Although it was created by humans, it is as if the sky is mine(雖由人作，宛自天開)."A trend was detected. Lastly, as a result of analyzing the degree of concealment and exposure in the visual composition of the inlet and outlet, it was confirmed that the water outlet was exposed only at the Eobijeong and Mountain Villa with Embracing Beauty view points of The Surging Waves Pavillion and the water outlet was hidden at other view points. Looking at these results, the 'Hyang-Hyang-Ba-Mi-Bob(向向發微法)' from the perspective of left-orientation theory of Feng Shui, which is applied in Korean traditional gardens in classical Chinese garden water management, "makes water visible as it comes in, but invisible as it goes out." It is judged that the technique was barely matched.

• Journal of Global Scholars of Marketing Science
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• v.20 no.1
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• pp.35-48
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• 2010

Today, the fashion market challenged by a maturing retail market needs a new paradigm in the "evolution of brand" to improve their comparative advantages. An important issue in fashion marketing is lifestyle brand extension with a specific aim to meet consumers' specific needs for their changing lifestyle. For fashion brand extensions into lifestyle product categories, Gen Y and Baby Boomer are emerging as "prospects"-Baby Boomers who are renovating their lifestyle, and generation Y experiencing changes in their life stage-with demands for buying new products. Therefore, it is imperative that apparel companies pay special attention to the consumer cohort for brand extension to create and manage their brand equity in a new product category. The purposes of this study are to (a) evaluate brand equity between parent and extension brands; (b) identify consumers' perceived marketing elements for brand extension; and (c) estimate a structural equation model for examining causative relationship between marketing elements and brand equity for brand extensions in lifestyle product category including home fashion items for the selected two groups (e.g., Gen Y, and Baby boomer). For theoretical frameworks, this study focused on the traditional marketing 4P's mix to identify what marketing element is more importantly related to brand extension equity for this study. It is assumed that comparable marketing capability can be critical to establish "brand extension equity", leads to successfully entering the new categories. Drawing from the relevant literature, this study developed research hypotheses incorporating brand equity factors and marketing elements by focusing on the selected consumers (e.g., Gen Y, Baby Boomer). In the context of brand extension in the lifestyle products, constructs of brand equity consist of brand awareness/association, brand perceptions (e.g., perceived quality, emotional value) and brand resonance adapted from CBBE factors (Keller, 2001). It is postulated that the marketing elements create brand extension equity in terms of brand awareness/association, brand perceptions by the brand extension into lifestyle products, which in turn influence brand resonance. For data collection, the sample was comprised of Korean female consumers in Gen Y and Baby Boomer consumer categories who have a high demand for lifestyle products due to changing their lifecycles. A total of 651 usable questionnaires were obtained from female consumers of Gen Y (n=326) and Baby Boomer (n=325) in South Korea. Structural and measurement models using a correlation matrix was estimated using LISREL 8.8. Findings indicated that perceived marketing elements for brand extension consisted of three factors: price/store image, product, and advertising. In the model of Gen Y consumers, price/store image had a positive effect on brand equity factors (e.g., brand awareness/association, perceived quality), while product had positive effect on emotional value in the brand extensions; and the brand awareness/association was likely to increase the perceived quality and emotional value, leading to brand resonance for brand extensions in the lifestyle products. In the model of Baby Boomer consumers, price/store image had a positive effect on perceived quality, which created brand resonance of brand extension; and product had a positive effect on perceived quality and emotional value, which leads to brand resonance for brand extension in the lifestyle products. However, advertising was negatively related to brand equity for both groups. This study provides an insight for fashion marketers in developing a successful brand extension strategy, leading to a sustainable competitive advantage. This study complements and extends prior works in the brand extension through critical factors of marketing efforts that affect brand extension success. Findings support a synergy effect on leveraging of fashion brand extensions (Aaker and Keller, 1990; Tauber, 1988; Shine et al., 2007; Pitta and Katsanis, 1995) in conjunction with marketing actions for entering into the new product category. Thus, it is recommended that marketers targeting both Gen Y and Baby Boomer can reduce marketing cost for entering the new product category (e.g., home furnishings) by standardized marketing efforts; fashion marketers can (a) offer extension lines with premium ranges of price; (b) place an emphasis on upscale features of store image positioning by a retail channel (e.g., specialty department store) in Korea, and (c) combine apparel with lifestyle product assortments including innovative style and designer’s limited editions. With respect to brand equity, a key to successful brand extension is consumers’ brand awareness or association that ensures brand identity with new product category. It is imperative for marketers to have knowledge of what contributes to more concrete associations in a market entry into new product categories. For fashion brands, a second key of brand extension can be a "luxury" lifestyle approach into new product categories, in that higher price or store image had impact on perceived quality that established brand resonance. More importantly, this study increases the theoretical understanding of brand extension and suggests directions for marketers as they establish marketing program at Gen Y and Baby Boomers.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.2
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• pp.43-57
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• 2013

The purpose of this study is to identify potential semantic landscape makeup of "the Forty Eight Poems of Soswaewon" according to Yin-Yang and Five Elements Principle(陰陽五行論). that speculation system between human's nature and cosmical universal order. Existing academic discussions made so far concerning this topic can be summed up as follows: 1. Among Yin-Yang-based landscape makeups of the Forty Eight Poems of Soswaewon, poetic writings for embodiment of interactions between nature and human behaviors focused on depicting dynamic aspects of a poetic narrator when he appreciates or explores hills and streams as of to live free from worldly cares. Primarily, many of those writings were created on the east and south primarily through assignment of yang. On the other hand, poetic writings for embodiment of nature and seasonal scenery - as static landscape makeup of yin - were often created on or near the north and west for many times. Those writings focusing on embodiment of nature and artificial scenery as a work are divided into two categories: One category refers to author Kim In-hu's expression of semantic landscape from seasonal scenery in nature. The other refers to his depiction of realistic garden images as they are. In the Forty Eight Poems of Soswaewon, the poetic writings show that author Kim focused on embodying seasonal scenery rather than expressing human behaviors. In addition, both Poem No. 1 and Poem No. 48(last poem; titled 'Jangwon Jeyeong') were created in a same place, which author Kim sought to understand the place as a space of beginning and end where yin and yang - i.e. the principle of natural cycle - are inherent. 2. According to construction about landscape in the Forty Eight Poems of Soswaewon on the basis of Ohaeng-ron (five natural element principle), it was found that tree(木) and fire(火) are typical examples of a world combined by emanation. First, many of poetic writings depicting the sentiments of tree focused on embodying seasonal scenery and were located in the place of Ogogmun(五曲門) area in the east, from overall perspective of Soswaewon. The content of these poems shows generation and curve / straightness in flexibility and simplicity. Many of poems depicting the sentiments of fire(火) focused on embodying human behaviors, and they were created in Aeyangdan area on the south of Soswaewon over which sun rises at noon. These poems are all on a status of side movement that is characterized by emanation and ascension which belong to attributes of yang. 3. With regard to Ohaeng-ron's interpretation about landscape in the Forty Eight Poems of Soswaewon, it was found that metal(金) and water(水) are typical examples of world combined by convergence. First, it was found that all of poems depicting sentiments of metal focused on embodying seasonal scenery, and were created in a bamboo grove area on the west from overall perspective of Soswaewon. They represent scenery of autumn among 4 seasons to symbolize faithfulness vested in a man of virtue(seonbi) with integrity and righteousness. Poems depicting sentiments of water were created in vicinity of Jewoldang on the north, possibly topmost of Soswaewon. They were divided into two categories: One category refers to poems embodying actions of welcoming the first full moon deep in the night after sunset, and the other refers to poems embodying natural scenery of snowscape. All of those poems focused on expressing any atmosphere of turning into yin via convergence. 4. With regard to Ohaeng-ron's interpretation of landscape in the Forty Eight Poems of Soswaewon, it was found that poems depicting sentiments of earth(土), a complex body of convergence and emanation, were created in vicinity of mountain stream around Gwangpunggak which is located in the center of Soswaewon. These poems focused on carrying actions of author Kim by way of natural phenomena and artificial scenery.

• Journal of the Economic Geographical Society of Korea
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• v.9 no.1
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• pp.23-38
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• 2006

This study attempts to investigate the spatial characteristics of cultural economies of Bukchon in Seoul, where abundant cultural assets exist. This area has been the administrative-political core locale since 14C, therefore, a lot of traditional- and contemporary-cultural facilities are remains, This area possessed unique place characteristics by coexisting traditional and modern cultures, and thus attracted to culture demanders. Recently many economic activities have increased in this area, and most of them are related with the cultural elements of the region, In particular creative retail shops, which produce goods by flexible-specialized production system, have been agglomerated in this area, The goods are designed, produced, and sold at the shop place. Most of them are uniquely designed hand made products, and produced a few amount. The economic value of these products related with the cultural environment of Bukchon. These creative shops emerged at the front of Samcheongdong street in the beginning, and then have diffused into the inside of Samcheongdong street and Hwagae street. The shops have very unique exteriors related with traditional houses in this area, and located on roadsides where are not many passerby. Most owners of the retail stores are highly educated and studied design, and produce goods by themselves at the shops. The reason that they opened their shops in Bukchon is directly related with the unique cultural environment of this area. They hope that more unique and artistic stores join this area so that developed this area as culture and fashion combined area.

• Journal of the Korean Institute of Landscape Architecture
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• v.37 no.3
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• pp.91-104
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• 2009

This paper attempts to look at the identity of the traditional famous sceneries of Jeju Island by investigating the relationship between 'Yeoung Ju-Sipikyung(瀛州十二景)', which are the representative beautiful scenes of Jeju Island, and two paintings 'T'amna-Sipkyungtdo(耽羅十景圖)' and 'T'amna-Sullyokto(耽羅巡歷圖)' by a grasp of the contents and meanings of these two paintings. The following are the results of the study. In the 'T'amna-Sipkyung', which is the origin of today's 12 beautiful sceneries of Jeju Island, Baekrokdam and Youngsil are both symbolic places and the backdrops against which Jeju's myths were formed. Jocheonjin, Seogwijin and Myoungwoljin, located near the seashores, are strategic footholds in protecting the territory of the island and connotatively contain its culture and history. Seongsan Ilchulbong, Sanbangsan, Chwibyeongdam and Cheonjeyeon Pokpo are not only the quintessentially beautiful scenes of Jeju but also belong to 'YeoungJu-Sipikyung'. And 'T'amna-Sullyokto', which describes the Jeju horses and tangerines that were presented to the king as tribute, offers scenic elements with a strong political tone and is related to the five scene of 'T'amna-Sullyokto', showing that 'defense' and 'tribute' are motives in choosing the sceneries of people's daily lives here. Jeju's daily scenes in particular have been continuously transmitted: 'Idyllic lives with the background of a tangerine orchard' are shown in 'Kowon Panggo' and 'Kyullim P'ungak', and Jeju horses grazing on pastures or being ridden in hunting trips are presented in 'Sanjang Kuma' and 'Kyorae Taeryop'. Besides Baekrokdam and Youngsil, which do not belong to Sunyeok(巡歷) corridor of minister Lee Hyoungsang, 'Yeoung Ju-Sipikyung', directly related to 'T'amna-Sipkyung', has six beautiful sceneries: Seongsan of Seongsan Ilchulbong, Baekrokdam of Baekrokmanseol, Younggok of Youngsilgiam, Sanbang of Sanbanggulsa Chwibyeongdam of Yongyeonyabeom and Seogwiso of Seojinnoseong. The image of 'Gosumokma', the tenth landscape of 'Yeoung Ju-Sipikyung', was expressed as it is, through 'Udojeomma' and 'Sanjangguma'. The ten beautiful sceneries of 'T'amna-Sipkyung' were also especially described in 'T'amna-Sullyokto', besides Baekrokdam and Youngsil, which do not belong to Sunyeok corridor. As the places and landscapes emphasized on 'T'amna-Sipkyungto' and 'T'amna-Sullyokto' in common have been transmitted by the politicians and ancestors of Jeju Island, they have become established as today's 'Yeoung Ju-Sipikyung', passing through correction processes. When considering this process of development, 'Yeoung Ju-Sipikyung' are worthy of heritage and traditional landscapes accomplished in a long difficult period based on investigation into beautiful Jeju Island and the love of the island people for their home.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.2
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• pp.42-54
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• 2014

This study was conducted to identify landscaping elements such as location, situation and feng shui included in the spatiality of Jangseong Pilmaseowon and to interpret aesthetic features of visual-perceptual spatial composition according to its arrangement. As it is shown in 'Pilamseowon', 'Pilbongseowon', and 'Gimhaseoseowon' appearing in antique maps, the awareness considering 'Pilam' as 'Pilbong' and 'Gimhaseo' was revealed. Mountain Pilamsan[Mountain Munpilsan] which is the location of seowon and Pilam(Brush-shaped rock) is the core of establishment of location identity of Pilamseowon and the symbol of Haseo Kim In-hu, which shows that they are deeply related to Ingeoljiryeong(人傑地靈: 'a place derives reflected glory from an illustrious human') based on connection. Pilamseowon shows locational characteristics of living in stream(溪居) facing panoramic 'jeungsan field' without Ansan(案山). Based on the teachings of Neo-Confucianism, Village Maekdong which is the birth place of Haseo, Pilam, seowon geomancy considering the Danbonghamseo-type(丹鳳含書形) geographical shape, formative reflection, Pilmaseowon and structures revealed in building naming more clearly show symbolic landscaping features resulting from 'theory of 'Heaven-Man Unity'(天人合一)' representing the union of nature and haman, than other seowons. The maximization of centrality through connected yards constructed with the 'jeondang hujae(前堂後齋)' arrangement in the order of Whakyeon-lu, Chenogjeol-dang, Jindeak-jae or Sungui-jae, and Woodong-sa is a unique feature of spatial frame of Pilmaseowon. In addition, it reveals the centrality reinforced with 'the move of inner center through arrangement of Kyeongjang-kag and Kyesengbi inside 'YuSik(遊息)' space and religious space' and the landscaping arrangement of Pilmaseowon from installation and device for reinforcement of territoriality. Moreover, it was found that orders and aesthetic features based on Neo-Confucianism were logically realized in the formation of Pilmaseowon with visual and compositional landscaping arrangement such as 'reinforcement of view centrality through composition of windows and doors', 'securement of visual transparency through framing and duplication', and 'realization of hierarchy through height of jaesil toenmaru'. The meaning system and spatial or visual aesthetic features of Pilmaseowon newly arranged and interpreted through landscaping recomposition is not a coincidental but inevitable result. It is another resource basis and an element that can improve the internal exuberance of Pilamseowon. This landscaping reading study is expected to improve the understanding of landscapes of Pilmaseowon and elevate the sensibility of unrevealed cultural landscapes.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.2
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• pp.1-13
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• 2012

This study aimed at learning the values and meanings of the letters carved on the rocks all over Mt. Sangdu located at the boundary between Kimje-si and Jeongeup-si of Jeollabuk-do by grasping the current state of them, investigating the patterns and contents of them, and understanding the spatial and landscape properties of the region where the rocks are scattered. The results of this study are as follows; The name of Mt. Sangdu came from the mountain with the same name located in India where Buddha were seeking the truth, and means auspicious. With the recognition of ancient maps and books, various propitious spots also made the landscape symbols of Mt. Sangdu solidify. Whoam, Chaangsuk-Kim, Weolgye Young-Cho Song and the members of Cheonggye Society like Dongcho Seok-Gon Kim led the creation of the rocks, and the 41 letter-carved rocks all over four water systems were found out and all of them were carved with Chinese characters. The letters were usually carved on flat and broad rocks, and they mainly had the shape of a small waterfall and a wide waterfall of under 1 meter height. 25(60.9%) of the carved letters were about moral training, and it seemed that they wanted to protect their pride under the shackle of the Japanese colonization over Korea. The styles of handwriting are Hangseo and Jeonseo except for names, and show various and complex styles. The mix composition of the carved letters of 'Yusubulbu(流水不腐)' of Choseo and the rocks of Takjok(濯足) is extraordinary, and the letters carved as the shape of Nakkwan(落款) have artistic value and degree of finishing. It seemed that intellectuals during the Japanese colonization over Korea in the 1930s considered Mt. Sangduasa highly valuable region because they expressed their hope and wish for the new world on the rocks. The letters on the rocks of Mt. Sangdu are invaluable cultural landscaping elements for the improvement of landscaping symbolism of Mt. Sangdu because of colliding values and spirits of the time of 'the anguish and pain of intellectuals' and 'the status of living joyfully outside of the mundane world.'