• Journal of the Korean Institute of Landscape Architecture
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• v.37 no.4
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• pp.72-85
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• 2009

This study attempts to examine the principles of landscape composition for a 'Suhwon(書院)' and the meaning and value of its traditional landscape architecture, in order to apply the results to the design of modern landscape architecture. A 'Suhwon' is a vital space containing the form and meaning of human activity. This study analyzes the characteristics of landscape composition in the construction of the Namgea Suhwon, located in Hamyang, by examining the form and meaning of its area and composition. The Namgea Suhwon was constructed with a suitable configuration and harmony in a good location, neither field nor mountain, and which encompasses transcendence and a return after passage through a period of birth and abundance. Its appearance means 'life existence and hidden death(生居死幽)'. Its spatial system is a reflection of the idea of Samshinoje(三神五帝: The three abilities of Providence and its five subjects) connected with Ilsangje -Samshin -Ohje. It was built based on the idea of Biryebudong(非禮不動) meaning that one should follow only good decorum and avoid discourtesy, complying with "the frame of decorum" developed by the family rites of Chu Hsi. The environmental design of the Namgea Suhwon was interrupted by the material confrontation between mountains and water and a binary code system, such as front to rear, length to breadth, and movement to stillness. The design did not adhere to stiff axes, but pursued the harmonic principles of asymmetric balance in the building and the yard, which are very naturalistic. The name 'Namgea Suhwon' is closely related with the view of placement(置) and harmony(和), which are unified with the function and meaning formed by connecting Sung Confucianism with the Pungsu-Sasinsa structure in the layout of the grounds. When examining the D/H ratio of the building and yard, it can be seen that the spaces of Ganghak, Yusang and Jehyang were built appropriately, according to the natural characteristics of each space, such as a sense of openness, enclosure, tension, relief, enhancement, and hierarchical order. The spaces also reflect human scale concepts that take advantage of auditory features. The transition process after the construction of 'Namgea Suhwon' reveals the intentions of the builder to create an ecological landscape composition based on Placement and Harmony. Placement embodies' a purposeful space in which nature and the building are connected naturally, 'incomplete open space pursuing completion', and 'potential beauty in which tension and relaxation are repeated'. Harmony embodies 'order and continuity having a sense of unity with the natural environment' and the 'sharing of daily life and memory'. 'Namgea Suhwon' contains many ideas for landscape planning, land use and the design of a campus environment.

• Journal of the Korean Institute of Landscape Architecture
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• v.37 no.4
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• pp.52-63
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• 2009

WTO/TBT aims to reduce impediments to trade resulting from differences between national regulations and standards. Where international standards exist or their completion is imminent, the Code of Good Practice says that standardizing bodies should use them, or the relevant parts of them, as a basis for any standards they develop. Drawing is a formal and precise way of communicating information about the shape, size and, features. In addition, drawing is a part of the universal language of engineering. However there are many differences between international landscape drawing standard ISO 11091 and Korean landscape drawing practice(KLDP). The result of a comparison of ISO 11091 with KLDP and suggestions for international standardization of KLDP are summarized as follows. First, Among the 33 kinds of conventions from ISO 11091, 2 similar kinds and 15 different kinds from KLDP and 16 kinds of conventions which exist only in ISO 11091 appeared-for the international standardization of KLDP, it is necessary to make an extensive alteration of KLDP. Second, Europe Unity countries accepted ISO 11091 and are using it as their national standard for landscape drawing. Even Japan has accepted ISO 11091 on their civil engineering drawings and is using it as their national standard. Therefore, we need to hasten KS standard enactment based on ISO 1091. Third, For the KS standard of construction drawings, the degree of international standardization is rising even though there are still differences from the ISO standard. Therefore, since the burden on the international standardization of KLDP is expected to be weighed, preparations should be quickly brought about in the practice fields. Fourth, Since in the landscape planting ordinances of local independent governments is the standard presented by categorizing trees into evergreen and deciduous, such parts should be modified and introduced when enacting the KS standard based on ISO 11091. Fifth, For the enactment of the KS standard for landscape drawings, a wide range of opinions should be collected by the relevant landscape organization by installing a committee, and based on its recommendation, an application for the KS standard enactment of landscape drawing should be made to the chief of Ministry of Knowledge Economy.

• Journal of Broadcast Engineering
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• v.5 no.2
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• pp.247-259
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• 2000

This paper introduces a new technique that reduces the search times and Improves the accuracy of motion estimation using high temporal and spatial correlation of motion vector. Instead of using the fixed first search Point of previously proposed search algorithms, the proposed method finds more accurate first search point as to compensating searching area using high temporal and spatial correlation of motion vector. Therefore, the main idea of proposed method is to find first search point to improve the performance of motion estimation and reduce the search times. The proposed method utilizes the direction of the same coordinate block of the previous frame compared with a block of the current frame to use temporal correlation and the direction of the adjacent blocks of the current frame to use spatial correlation. Based on these directions, we compute the first search point. We search the motion vector in the middle of computed first search point with two fixed search patterns. Using that idea, an efficient adaptive predicted direction search algorithm (APDSA) for block matching motion estimation is proposed. In the experimental results show that the PSNR values are improved up to the 3.6dB as depend on the Image sequences and advanced about 1.7dB on an average. The results of the comparison show that the performance of the proposed APDSA algorithm is better than those of other fast search algorithms whether the image sequence contains fast or slow motion, and is similar to the performance of the FS (Full Search) algorithm. Simulation results also show that the performance of the APDSA scheme gives better subjective picture quality than the other fast search algorithms and is closer to that of the FS algorithm.

• Korean journal of communication and information
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• v.17
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• pp.145-178
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• 2001

Bourdieu is one of the few social science researchers who were interested in photography. Bourdieu's work on photography appears principally in two books: Un art moyen: Essai sur les usagrs sociaux de la photographie(1965) and La distinction(1979). In these books, Bourdieu analyzes the role of photography in the family life of peasants and small town and urban dwellers. He shows how different classes and groups express their esthetic worldview in response to different photographs and photographic styles. What Bourdieu analyzed is not just photography but ways of photographing and ways of looking at pictures. Through these analyses, Bourdieu explores the social definition of photography. Bourdieu's ideas on photographic practice in social life are as follows. First, the photography, especially family photography generally practiced, has the integrative function. It recreates the group by ritualizing and solemnizing the important moments of social life in which the group reaffirms its unity. Second, the photography as esthetic practice in search of legitimacy as a fine art becomes a means by which different classes are pitted against each other. Each of classes gives its own meaning to photographic practice. Despite its originality and persuasive power, Bourdieu's work on photography has its own limits. The data used by Bourdieu are 35 years old and relevant to European social life. Things has changed since. First, the technological improvement and innovation in photography was considerable. Cheap and good photographic materials, easy to operate, made photographic practice everybody's everyday activity. New media like camcorder and digital camera made photography one of the industrial discards like jukebox. It means that photography does not function as important means of distinction between classes any longer. The integrative function of the photography becomes more ambiguous too. Second, the esthetic status of the photography has changed. The family photography was already integraed into fine art. Photography is not a middle-brow art any more. Bourdieu's work on photography shows how photography was used by different social classes in European social life of the 1960's. His work is historically and geographically limited. Moreover, his work was ordered by the french affiliate of Eastman Kodak Company. And all along the analysis, Bourdieu didn't hide his intention of distinguishing his sociological method from the other methods, especially psychological one. These mean that Bourdieu's work was done in a specific context, for specific purposes. In this respect, Bourdieu's work on photography, like every sociological work, can not claim to be universal.

• The Korean Journal of Air & Space Law and Policy
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• v.35 no.2
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• pp.3-40
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• 2020

The term "accident" in the Warsaw Convention of 1929 and the Montreal Convention of 1999, which govern carrier liability in international air transport, is an important criterion for determining carrier liability. However, because there is no explicit definition of the term in the treaty provisions, the term is largely subjected to the judgment and interpretation of the courts. Although there have been numerous changes in purpose and circumstance in the transition from the Warsaw regime to the conclusion of the Montreal Convention, there was no discussion on the concept of "accident" therefore, even after the adoption of the Montreal Convention, there is no doubt that the term is to be interpreted in the same manner as before. On this point, the United States Supreme Court's Air France v. Saks clarified the concept of "accident" and is still cited as an important precedent. Recently, the CJEU, in GN v. ZU, presented a new concept of "accident" introduced in the Montreal Convention: that "reference must be made to the ordinary meaning" in interpreting "accident" and that the term "covers all situations occurring on aboard an aircraft." Furthermore, the CJEU ruled that the term does not include the applicability of "hazards typically associated with aviation," which was controversial in previous cases. Such an interpretation can be reasonably seen as the court's expansion of the concept of "accident," with a focus on "protecting consumer interests," a core tenet of both the Montreal convention and the European Union Regulations(EC: No 889/2002). The CJEU's independent interpretation of "accident" is a departure from the Warsaw Convention and the Saks case, with their focus on "carrier protection," and instead focuses on the "passenger protection" standard of the Montreal Convention. Consequently, this expands both the court's discretion and the carrier's risk management liability. Such an interpretation by the CJEU can be said to be in line with the purpose of the Montreal Convention in terms of "passenger protection." However, there are problems to be considered in tandem with an expanded interpretation of "accident." First, there may be controversy concerning "balance" in that it focused on "passenger protection" in relation to the "equitable balance of interests" between air carriers and passengers, which is the basic purpose of the agreement. Second, huge losses are expected as many airlines fly to countries within the European Union. Third, there is now a gap in the interpretation of "accident" in Europe and the United States, which raises a question on the "unity of rules," another basic tenet of the Convention. Fourth, this interpretation of "accident" by the CJEU raises questions regarding its scope of application, as it only refers to the "hazards typically associated with aviation" and "situations occurring aboard an aircraft." In this case, the CJEU newly proposed a novel criterion for the interpretation of "accident" under the Montreal Convention. As this presents food for thought on the interpretation of "accident," it is necessary to pay close attention to any changes in court rulings in the future. In addition, it suggests that active measures be taken for passenger safety by recognizing air carriers' unlimited liability and conducting systematic reforms.

• Archives of design research
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• v.16 no.3
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• pp.201-210
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• 2003

The world is preparing another unseen war, that is, the cultural war of digital economy which will dominate the new millenium. As the “contents”, which are composed of various ingredients of media, gain vitality, the developed nations are in preparation of the war with the “cultural industry” weapons. The digital economic experts say that the left out nations will become economic colony in the new millenium age. The most important characteristics of cultural industry is the unity of creativity and culture which is all the more improved on the basis of the culture created upon knowledge. This leads to competition between nations or regions, and to survive one has to develop the industrial structure through cognition of its own cultural value. Furthermore, it is not a short-term development and investment of cultural products but a study on the method to graft the cultural value to the industry itself. The multi-media period does not accept an independent medium, and the contents products are becoming the leading industry since il is proved that they last semi-permanently in the digital world. The victory lies in the quality and quantity of the contents as the high ability and variety of the technology of media advance in accordance to the market principles. Since the culture, science and economy are becoming one complex structure, all nations of the world are trying the evolve a unique design of their on culture on the basis of the global universality. In consequence, we should excavate a uniqueness from our cultural heritage and develop into a korean design which will be recognized in the world market. The value of our cultural property should not only be used as academic and research purposes but should be re-evaluated with modem view, recognized as the core element that decides the quality of life and developed into exclusive designs. The korean designs represent the mould concept of our people which evolves from the mould or shape alphabet of Korea To meet the requirements of the changing world and in preparation of the cultural competitive age, it is never too early to make a data on the korean designs through their analysis and evaluation.

• Journal of Science of Art and Design
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• v.10
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• pp.183-218
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• 2006

Colors change in time corresponding with the value system and aesthetic consciousness of the time. The roles that colors play in painting can be divided into the formative role based on the contrast and harmony of color planes and the aesthetic role expressed by colors to represent the objects. The aesthetic consciousness of the orient starts with the Civility(禮) and Pleasure(樂), which is closely related with restrained or tempered human feelings. In the art world of the orient including poem, painting, and music, what are seen and felt from the objects are not represented in all. Added by the sentiment laid background, the beauty of the orient emphasizes the beauty of restraint and temperance, which has long been the essential aesthetic emotion of the orient. From the very inception of oriental painting, colors had become a symbolic system in which the five colors associated with the philosophy of Yin and Yang and Five Forces were symbolically connected with the four sacred animals of Red Peacock, Black Turtle, Blue Dragon, and White Tiger. In this color system the use of colors was not free from ideological matters, and was further constrained by the limited color production and distribution. Therefore, development in color expression seemed to have been very much limited because of the unavailability and unreadiness of various colors. Studies into the flow in oriental painting show that color expression in oriental painting have changed from symbolic color expression to poetic expression, and then to emotional color expression as the mode of painting changes in time. As oriental painting transformed from the art of religious or ceremonial purpose to one of appreciation, the mast visible change in color expression is the one of realism(simulation). Rooted on the naturalistic color expression of the orient where the fundamental properties of objects were considered mast critical, this realistic color expression depicts the genuine color properties that the objects posses, with many examples in the Flower & Bird Painting prior to the North Sung dynasty. This realistic expression of colors changed as poetic sentiments were fused with painting in later years of the North Sung dynasty, in which a conversion to light ink and light coloring in the use of ink and colors was witnessed, and subjective emotion was intervened and represented. This mode of color expression had established as free and creative coloring with vivid expression of individuality. The fusion of coloring and lyricism was borrowed from the trend in painting after the North Sung dynasty which was mentioned earlier, and from the trend in which painting was fused with poetic sentiments to express the emotion of artists, accompanied with such features as light coloring and compositional change. Here, the lyricism refers to the artist's subjective perspective of the world and expression of it in refined words with certain rhythm, the essence of which is the integration of the artist's ego and the world. The poetic ego projects the emotion and sentiment toward the external objects or assimilates them in order to express the emotion and sentiment of one's own ego in depth and most efficiently. This is closely related with the rationale behind the long-standing tradition of continuous representation of same objects in oriental painting from ancient times to contemporary days. According to the thoughts of the orient, nature was not just an object of expression, but recognized as a personified body, to which the artist projects his or her emotions. The result is the rebirth of meaning in painting, completely different from what the same objects previously represented. This process helps achieve the integration and unity between the objects and the ego. Therefore, this paper discussed the lyrical expression of colors in the works of the author, drawing upon the poetic expression method reflected in the traditional Flower and Bird Painting, one of the painting modes mainly depending on color expression. Based on the related discussion and analysis, it was possible to identify the deep thoughts and the distinctive expression methods of the orient and to address the significance to prioritize the issue of transmission and development of these precious traditions, which will constitute the main identity of the author's future work.

• Journal of Science of Art and Design
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• v.11
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• pp.153-199
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• 2007

The East has recognized 'similar forms' and 'similar spirits' as important topics in expressing an object. Figure painting, in particular, has attached importance to 'transmission of spirit'. Gu Kaizhi (345-406) definitely presented the transmission concept and made it the moot important criterion in painting criticism. By identifying the possibility of revealing spirit through a form, he recognized the 'expression of will' in a creator's work and the experience of such 'expressed will' by an appreciator to be the essential acts of art. Thus, he said, a figure painting revealed the character and nature of the depicted object rather than reproducing its form. Regarding art as a person creating the saintly way of life via developing own character, he attached importance to the will of an artist as the central aesthetic subject. This dissertation explores the keynote of the spirit expressing an artist's inner world and the external shape of a figure. It is carried out by investigating the process of Gu Kaizhi's theory (namely spirit transmission and revelation in painting) leading to Su Dongpo's assertion that "the nature of things" and later leading to Yun Duseo's "theory of the way of painting" as the spirit-transmission theory faithful to the principle of revealing spirit through a form in Chosun. The chronological study of the aforementioned works reveals that the relation between an artist and an object is important at the stage of setting aim in producing a work, and this dissertation analyzed it with four elements: (1) creating work based on the viewpoint of nature that heaven and man are one; (2) reflection of the creator's character (including his/her nature, temperament, spirituality, and emotion during the creation) and the artistic merit of a picture; (3) the dialectic unification between the true and the false through space which is a volitional state as creative thinking space; (4) importance of artist's will above the technique used such that a purposeless, inactive and plain work (where human will is combined with heavenly one) was pursued because the picture is regarded coming from the mind created in the unity of host/artist and guest/object. Thus, through his/her intuitive insight is the world where self is united with the cosmos symbolized. Such expression of an artist's inner world and the external shape of a thing pursues the stage of materialization and creates the new modes such as using space, a variety of brushstrokes, and accidentality and improvisation of India ink. In particular, the writer sees that such expression which enables a creator to express his/her nature or personality (and even the emotion) at the time of creation will be highly worth studying in the future, in accord with the pursuit of contemporary painting being expressed as an abstract aspect.

• Journal of the Korean Institute of Landscape Architecture
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• v.36 no.3
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• pp.63-74
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• 2008

With the awareness that Sinyeongwol Sipgyeong(ten scenic spots in Yeongwol) were designed too hastily and only for PR purposes after the change in the tourism environment, this paper indicates that most tourism and culture sources in Yeongwol are related to King Danjong, the sixth king of the Joseon Dynasty. This study proposes a 'Storytelling Plan' for the landscape content called 'Cultural Landscapes - Yeongwol Palgyeong(eight scenic spots in Yeongwol)' after reviewing types and content of Yeongwol Palgyeong through the halo effect of the well-known sad history of King Danjong and the cultural value of Yeongwol. The significance of the unity of the historic site and neighboring landscape is focused on by investigating the anaphoric relations between cultural landscape texts('Yeongwol Palgyeong') and historic content(the sad history of King Danjong). For this, the cultural lnddscape of Yeongwol has been framed and layered to make spatial texts. To emphasize the 'Telling' as well as the 'Story,' interesting episodes have been reviewed to discover a motive. To diversify the 'Telling' methods, absorptive landscape factors have been classified as 'Place,' 'Object' and 'Visual Point.' In addition the storytelling of Yeongwol Palgyeong was examined in consideration of the story and background of 'Yeongwol Palgyeong - Sad Story of King Danjong' and the interaction of a variety of cultural content by suggesting micro-content such as infotainment and edutainment as absorptive landscape factors. In order to make the storytelling plan available in practice as an alternative plan for Yeongwol Tourism, a visual point should be properly set to make the landscape look sufficiently dynamic. In addition, real landscape routes and narration scenarios should be prepared as well. Professional landscape interpreters who are well informed of the natural features of Yeongwol and the history of King Danjong should be brought into the project, and Internet and digital technology-based strategies should be developed.

• Journal of the Korean Institute of Landscape Architecture
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• v.38 no.2
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• pp.94-108
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• 2010

The purpose of this study is to provide data for the restoration of 'Yongyun(龍淵)' and 'Hwahongmun(華虹門)' through an investigation of the vicinity of their original landscapes at the time of construction of Hwaseong in Suwon and through tracing the transformative process of the environments of this vicinity. The results are as follows; As identified by 'Yongyunjung(龍淵亭)' and 'Yongdugak(龍頭閣)', other names of Yongyun, 'Banghwasuryujung(訪花隨柳亭)', which was built on 'Yongduam', is a facility whose place identity is highlighted with a sense of unity with Yongyun. The south lakefront of Yongyun, bordering Banghwasuryujung, has boundaries that make the best use of the natural geographical features of Yongduam while the current circumference of Yongyun is comparatively shorter than its original state. The size of 'Joongdo(中島)', however, seems to be an example of apparent over-design complement and reorganize 'Joongdo', which had been restored larger than its original state at the time of restoration in the 1970s. The depth of 'Yongyun' was created to be lower than the actual depth, without consideration for its initial depth, as soil was accumulated through continuous flooding after it was created. It is assumed that the original drains which were installed about 10m inside the lake were created facing the stream. As regards the planting environment, a circular planting of willows was made in the outskirts of 'Yongyun', except the 'Yongduam' which is a pure forest, and a mix of 'Pinus densiflora', shrubbery and deciduous broad leaf trees was planted in 'Joongdo'. Of the plants growing in the area of this study, plant species introduced to Korea after Hwaseong was constructed are found, most of which provide interest and attraction. The old pine trees growing in a group once grew in the castle areas of the vicinity even in the 1920s, the period of Japanese occupation, but they disappeared from the area in the aftermath of subsequent urban development and the Korean War. Although restored to the site, the number and space taken up by these trees are insignificant compared to those of the original environment. On the basis of these results, the following is considered necessary for the true restoration of the vicinity of 'Yongyun' and 'Hwahongmun': First, the grounds of 'Yongyun' should be dredged deeply enough to expose the bedrock and should be recreated in the rough outline of a half moon by extension to the southwest toward 'Yongduam' and 'Hwahongmun', and the size of 'Joongdo' should be significantly reduced. Secondly, considering that most plant species, except the pine trees and wild trees in 'Yongduam', are non-native plants introduced in order to provide such attractions such as the appreciation of scenic areas, they should be replaced with native species, mainly with the pine trees which were utilized during the construction of Hwaseong. The weeping willows planted in the 'middle-island' should be relocated to the outskirts of 'Yongyun', and replaced with pine trees as the major trees and maple trees or deciduous broadleaf trees to fill in the gaps. Thirdly, exotic species such as the 'Pinus rigida' planted in a group around 'Banghwasuryujung' and 'Bugammun' and 'Pinus strobus' planted in the vicinity of Hwahongmun' should be removed.