• 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.

• Science of Emotion and Sensibility
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• v.13 no.1
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• pp.269-278
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• 2010

Today's Virtual Reality(VR) technology has become considerably more affordable and sophisticated with rapidly advancing computer technology. Photo-realistic visual representations along with real-time interactivity are now achievable without special programing knowledge and expensive equipment. The purpose of this paper is to establish how simple, credible user testing methods based on VR simulations can be utilized to improve design decision making towards more sensible design solutions for end-users. Results of a case study demonstrate the value of potential user-testing feedback in a simulated 3D virtual service space, i.e., restaurant interior. User feedback from the VR simulation includes preferences in table location, privacy, and values of seating preferred tables. A new design framework incorporating an empirical testing method for service spaces is presented. The overall design process, the development of the VE, and the user testing method and findings are discussed. This study provides useful guidances for future efforts in the areas where such technology may benefit to understand end-user feedbacks in design process.

• Journal of Korean Society for Geospatial Information Science
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• v.10 no.1 s.19
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• pp.83-90
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• 2002

Control point survey by GPS can save labor and time and can obtain result of high accuracy, but if excessive error is contained to Control point that is used to GPS relative positioning, the error that has influence on new point is propagated to various configuration. therefore poor triangulation points that are caused by careless management are existed, a product of the triangulation points still are in many case. In order to select new point, this study carried out error-analysis of surrounding-control-points and performed selective process of control point. The propriety parts of control points that are used to verify precision is identified by means of comparing existing product with or GPS product about some control points after directly observe each baseline by using EDM. As the error is analyzed by static positioning the optimum control point is selected, the precision of survey data by EDM is improved than GPS data.

• Proceedings of the Korean Institute of Information and Commucation Sciences Conference
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• 2016.10a
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• pp.835-837
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• 2016

In this research, Detect viewpoint of the user in other to obtain the coordinates and provided obtain a corresponding stereo images of different positions, Provide a system which can be observed remotely break the spatial limits. For system configuration Designed with a physical action such as left and right movement and rotation of the head is the largest factor in human viewpoint change. Therefore, this system is calculated to analyze user viewpoint, Control system for providing three-dimensional images obtained, It is implemented in network communication for data transmission, As the user observed the object in the same space even though free to observe a target at a remote location, Obtaining a stereo image that corresponds to the viewpoint providing a three-dimensional image, We implemented a system that provides the same visual effect and directly observed.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.4
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• pp.14-23
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• 2014

The purpose of this study is to contribute in building credibility of the methodology of the appearance of the traditional colors and the interpretation of the meaning of those appearances by analyzing the spatial construction and configuration and the traditional colors that appear in spatial elements about the scenery component that appear in Seyeonjeong. We conducted a literature research about the traditional colors, the background of the creation of Seyeonjeong, and etc. For the contents for the empirical analysis, we took the scenery and space elements in the poems, such as Eobusasisa and O-u-ga, and the contents of poems related to ojeongsaek (five Korean traditional colors) based on the Yin-Yang and the Five Elements ideology Particularly, after dividing the spatial elements appearing in Seyoenjeong into visual, synesthetic, symbolic/cognitive spatial element, we further distinguished the visual space into positions and directions of the of the spaces and the scenery of the season; the synesthetic space into seasons, time and five senses; and the symbolic/cognitive space into chiljeong (or the seven passions) and sadan (or the four clues). Then we carried out the study by analyzing the correlation between the intention of the garden creation and the meaning of the spaces, through the analysis of ojeongsaek system for each spatial element. Firstly, spatial structure and format that appear in Seyeonjeong can be divided into two directional axes of southeast and northwest according to the flat form of the Seyeongjeong's rectangular palace, with Seyeongjoeng as the center. Secondly, in spatial component element, the frequencies of appearance of the traditional colors of Seyoenjeong are 33.2% for white, 20.8% for blue, 20.8% for black, 18.7% for red and 6.3% for yellow. Thirdly, based on the analysis of the traditional colors the most frequent appearance of 'white' left a room for interpretation like the creation of Seyeonjeong was to enjoy secular living without lingering political feelings so that the high mountains remain clear and clean. Also, the predominant frequency of appearance of blue, similar frequency of appearance of black and red, and the least frequent appearance of yellow is in agreement with or can be at least interpreted related to Yun Seon-do's intention for creating Seyeonjeong not for political rank or power but as a place to enjoy nature, through which he can build on his knowledge, and to lead rest of his life as a noble being through plays, like dancing and writing poems. Fourthly, these interpretations of the analysis of the frequency of appearance of the traditional colors of Seyeongjong shows the reliability, validity, and consistency of the methodology of the analysis of the frequency of appearance of the traditional colors and the interpretation of the meanings in the context that the color white appears most frequently in Soswewon as well and that the background life of the Soswewon's creator Yangsanbo can be interpreted in a similarly way. Above all, this study is significant from the fact that we proposed a theory about the method of analysis and interpretation of the traditional colors in a traditional landscape space. Moreover, there is a great significance of discovering that traditional colors appear in traditional spaces and this can be used as a methodological framework to interpret things like, intention for creation of (buildings/architectures).

• Journal of The Korea Institute of Healthcare Architecture
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• v.22 no.4
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• pp.37-45
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• 2016

Purpose: The purpose of this paper is to analyze a sample of single corridor, pod type and composite type of ICUs in terms of patient visibility, spatial configurations and nurse walking distance focused on Korean cases. Methods: The measures of static visibility were used to quantify the patient visibility (upper third part of the patient bed) from the nurse station. The measure of space programme and area distribution (patient zone percentage, staff zone percentage, circulation zone percentage, corridor length per bed, distance from nurse station (NS) to patient bed and departmental gross square meter (DGSM) per patient bed) were calculated by using AutoCAD and MS Excel programs. In the second step of analysis the values of space distribution were compared among the three type of ICUs as well as the nurse walking distance, DGSM per bed and gross factor. in the third step of analysis regression analysis was conducted for the possible correlation between visibility and space programme and area distribution factors as well as nurse walking distance factors. Results: (1) It was found that on average composite type unit offer highest value of patient visibility followed by pod type, while single corridor type unit offers the minimum value of patient visibility among the three plan typologies. (2) Average patient visibility and DGSM per bed shows a strong positive correlation ($r^2=0.75$) and p=0.026. (3) Average patient visibility and average distance from NS has a strong negative correlation ($r^2=0.78$), and P=0.02. (4) On average composite type unit offer the minimum walking distance from NS (7.22 meter) followed by pod type unit (8.35 meter) and single corridor (9.76 meter). (5) Maximum distance from NS was noted in single corridor (18.19 meter) followed by pod type unit (15.14 meter) and Composite type unit (11.1 meter). Implications: This study may contribute to the visibility analysis of existing and future ICU design in Korea to achieve maximum patient visibility and reduced nurse walking distance.

• Journal of the Korean Institute of Illuminating and Electrical Installation Engineers
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• v.23 no.4
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• pp.16-28
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• 2009

Stage art basically builds upon the essence of "seeing," and at the same time, possesses relativity in showing and seeing. Stage lighting uses artificial light to solve the essence of "seeing", which is the foundation of stage art, and coming into the modern age, its role has been enhanced to an important medium for visual expression in stage art, due to the lighting tools that developed at a rapid pace along with the discovery of electricity, as well as the development of optics. Therefore, not only does lighting use a medium known as light in a field of stage art that gives mental and emotional inspiration to the audience, and aesthetically expresses time and space. In other words, stage lighting is a complex function of light engineering (technology and science) and aesthetic sense (feeling and art). This study aims to do research on methods for the visualization of stage space through lighting, mainly focused on dancing. I have studied the basics of stage lighting, its relations with other fields of stage art, and the functions and characteristics of lighting. Results show that lighting could be used to maximize the visualization of dancing and emphasizing the artistic growth of lighting and its ability to aesthetically express and I came to the following conclusions. First, lighting uses the forms and directions of light that various tools are able to produce in order to visualize the space on stage, and can maximally express the image that the work seeks. Second, it is possible to use lighting, through the movement of light, as a visual representation of the configuration of space in dancing works. Third, through the expression of visual and spatial aspects created by light, the work's dramatic catharsis can bring out mental and emotional feelings form the audience. Fourth, lighting can be seen not as a supporting role, but as an original visual design. To conclude, in order for lighting to be freed form the simple function of "lighting up the stage," which a majority of people think is common knowledge, and grow as one area in art, lighting designers must understand the intentions of the choreographer and the work with creativity and artistry they must consider light and color as an aesthetic language in order to heighten the effects of the work and allow it to partake as one element of work creation, so that lighting will be treated as a form of art.

• Korean Journal of Environment and Ecology
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• v.28 no.4
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• pp.457-471
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• 2014

This study aims to present an evaluation scheme to improve the problems in tree shapes and tree growth which were identified through shape and growth assessments of landscape trees currently planted in Haedoji Park, Songdo, Incheon Metropolitan City after plant structure status and propriety review for funtion of space and concept of planting. Suitability the planting concept was evaluated according to function of space. The result indicated that the shade planting areas accounted for 29.5% of the the shade spaces area. 58.7%, respectively planting areas of visual landscape. And 11.8%, respectively planting areas of buffer. Because the planting areas was lacked according to the park established spatial configuration of central facilities and the result of plant young trees. Plant structure status required consideration with plant structure, density, size, growth status for improve planting function. The tree assessment was performed on a total of 28 species and 600 trees of which 22 species and 209 trees were planted in the buffer zone, 8 species and 71 trees in the shade zone, 16 species and 266 trees in the visual landscape zone, and 4 species and 54 trees in the ecological landscape zone. The trees were divided into grades based on their assessment score and were statistically grouped by the functional zone in where they are planted and by tree species to verify their significance. The tree shape assessment was an average of 56.6 points and the tree growth assessment was an average of 76.0 points. Using the results of the tree assessments, the tree standards for each functional space were identified and a concept of optimum planting and cultivating was applied. When applying the shape assessment results by zone to the concept of planting, since trees for buffering require high functionality they received E's, the lowest grade; as trees for ecological landscaping require diverseness and naturalness, they received D's; since trees for shading require utilization, they received C's as trees with branching at the main stems were considered; and since trees for visual landscaping required aesthetical value, they received A's and B's. When applying the growth assessment results by zone to the concept of planting, based on planting foundations of favorable and poor, for buffering, visual landscaping, and ecological landscaping, trees from grades A to E could be planted, and for shading, trees from grades A to C could be planted. For a cultivation plan that could improve the growth of the trees, we proposed that the topography of the land be selected considering the tree's characteristics and that a method of pot seeding be used. Also, to improve the shape of the trees, we proposed that poles be used to improve the growth of vertically-straight stems, an appropriate planting density be applied for reasonable branch growth, manage tree shape to maintain good crowning, and better manage fertilization to maintain a reasonable crown density.

• 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 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.