• Journal of the Korean Institute of Landscape Architecture
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• v.47 no.5
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• pp.1-13
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• 2019

This study is to derive a design alternative to the FECC (Forest Experience Center for Children) that meets the preschooler's preferences. For this purpose, preschooler participation is included in each phase of the FECC, the site perception phase, the deriving design elements phase, and the deriving design alternative phase. In this study, the process of the deriving design alternative phase was carried out with kindergarteners and preschoolers (6, 7 years olds; all 41 students) at Songsan-mulbit FECC in Gwangsan-gu, Gwangju. In order to derive the design alternatives, three detailed design processes (preschooler participation 2 times, researcher analysis 1 time), tool construction, and a preschooler participation workshop were conducted. The results of this study are as follows. First, as a result of the preschooler's design process, 41 designs were drawn, and an average of 7.66 spaces were drawn by each preschooler. The 6-year-old males designed the least (average 6.80 spaces) and the 7-year-old females designed the most (9.0 spaces). The physical and adventure play spaces were most common (38.9% to 48.7%) regardless of gender or age. To analyze the feasibility of the preschooler's design using a base map, the appearance of the physical environmental characteristics (7 items) in the site were analyzed in each of the 41 designs. As a result, the environmental characteristics were apparent a total 72 times overall. Similar environmental characteristics appearing more than once were apparent in 87.8% (26 designs) of designs. Second, three design alternatives were derived: APS- types (intensive planning of active play facility spaces) was presented in 15 designs, NS-types (planning focused on nature spaces) was presented in 14 designs, and SPS-types (planning focused on static play facility spaces) were presented 12 designs. Third, NS-type, which were finally selected through a preference assessment (5-point scale) and a comparative assessment of the three alternatives, has mainly natural spaces (forest space, forest path, shelter, natural exploration space, and ecological pond) and active play facility spaces, water play space and soil (sand) play spaces was appropriately designed. Therefore, the NS-type was analyzed as the design alternative that can fully accomplish all types of cognitive development through developed through play (functional play, constructive play, dramatic(symbolic) play).

• Journal of the Korean Society of Food Science and Nutrition
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• v.11 no.1
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• pp.31-36
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• 1982

Sugars and nitrogen contents and physico-chemical properties of ethanol extracts of fresh, dried, and tail ginsengs with different concentrations of the solvent were investigated. The transmittance at 550nm of fresh, dried and tail ginseng extracts (1% D.Wsoln) respectively, and all the extracts were slightly viscous-sticky, brown and pH of 4.8-6.2 Total sugars, sucrose and starch contents of the extracts were decreased with increasing of enthanol concentration as a solvent. Total sugar content of the extracts were decreased in the order of dried, tail and fresh ginseng and sucrose content were decreased in the order of fresh, driedcand tail ginsengs and starch content were decreased in the order of tail, dried and fresh ginsengs. The reducing sugar contents of the extracts were 4.9-3.8 %, 8.6-12.8 % and 7.6-9.1% in fresh, dried and tail ginsengs, respectively. Total nitrogen contents of the extracts were 2.3-4.6% in average and decreased in the order of dried, fresh and tail ginsengs.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.38 no.2
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• pp.14-30
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• 2020

This study focuses on the fact that pictorial maps in the late Joseon Dynasty were conceptual diagrams with the place names perceived by the people at the time of their production. In this regard, targeting on five pictorial maps, the humanistic landscape characteristics of Pyongyang, which had cultural identities such as a historically old, commercial, and Pungnyu(appreciation for the arts) city, were derived as follows. First, the historic legitimacy of Pyongyang Castle was represented by ritual and religious facilities. They include 'Dangunjeon' and 'Gijagung' related to the nation founder, 'Munmujeong': the remains of Goguryeo, 'Sajikdan' & 'Pyongyanggangdan': the place of the national rites, Hyanggyo and Seowon: education & rite functions, Buddhism and Taoist facilities, 'Yongsindang', 'Sanshindang', and 'Jesindan': folk religion facilities. Gija-related facilities, which became symbols of Pyongyang due to the importance of Small-Sinocentrism and Gija dignity tendency, were distributed throughout Pyongyang Castle though, the facilities related to King Dongmyeong of Goguryeo and the spaces of religion praying for blessings are spread in Bukseong and on the riverside of Daedonggang each. Second, as a Pyongando Province's economic center, Pyongyang's commercial landscape was represented by logistics and transportation facilities. The Daedonggang River, which was in charge of transportation functions, had many decks such as 'Yangmyeongpo', 'Cheongryongpo' and 'Waeseongjin' and bridges, such as 'Yeongjegyo' and 'Gangdonggyo', which connected major transportation routes. The road network was created in Oeseong area to facilitate logistics transportation and management, and many warehouses named after the jurisdiction of Pyongyangbu were distributed near the roads and Provincial Offices of the main gates. In addition, it was characterized by the urban area systematically divided with hierarchical roads, 'Bukjangnim' of willow trees planted on the main entrance roads of Pyongyang Castle, a linear landscape created by 'Simnijangnim' consisting of mixed forests with elm trees. Third, Pungnyu City is realized by the distribution of amusement facilities. The riverside of Daedonggang adjacent to Naeseong exhibits characteristics of artificial landscape such as a canal leading to the inside of the castle, a docking facility with embankments, and a port with cargo ships anchored. However, Bukseong of the natural surroundings had numerous pavilions and platforms such as 'Bubyeongnu', 'Eulmildae', 'Choeseungdae', 'Jebyeokjeong' and engraved letters such as 'Cheongnyubyeok', 'Jangbangho'. 'Osunjeong', 'Byeogwolji', 'Banwolji' near 'Sachang', and 'Aeryeondang', built on the island of a square pond, created waterscape in Naeseong invisible from the Daedonggang, and for practical purposes, ponds and repeated willow vegetation landscape related to Gija were placed in the western rampart of Jungseong. In addition, 'Seonyeondong', a cemetery of Gisaeng, located near by Chilseongmun, was used as poem titles and themes by literary people, contributing to the creation of the Pungnyu image of Pyongyang.

• Korean Journal of Heritage: History & Science
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• v.47 no.1
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• pp.66-81
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• 2014

Burnt down during the Imjin War(壬辰倭亂) of 1592, Gyeongbokgung Palace(景福宮) remained in ruins until 1865, when in the second year of King Gojong's(高宗) reign, reconstruction work began. At the time, a royal protocol(uigwe, 儀軌) for the reconstruction was not produced. Instead, the Gyeongbokgung Palace Construction Diary(Gyeongbokgung yeonggeon ilgi, 景福宮營建日記) records the reconstruction process from June to September of 1865. The contents of this diary reveal that the stone used in the construction was obtained from Ganghwa(江華), the Yeongpung field(映楓亭) just beyond Dongdaemun, and Samcheongdong(三淸洞), among other sites. In addition, selected stone remaining from the original Gyeongbokgung Palace site - such as that from the palace astronomical observatory(ganuidae, 簡儀臺) - as reused, while a number of buildings and stonework from Gyeonghuigung Palace(慶熙宮) were moved to Gyeongbokgung Palace. As a result, a number of $17^{th}$ and $18^{th}$ century stonework are currently located at Gyeongbokgung Palace. The Gyeongbokgung Palace Construction Diary contains a record indicating that the bronze dragon(靑銅龍) excavated from the lotus pond at the palace's Gyeonghoeru Pavilion(慶會樓) was created by special technician byeolganyeok(別看役) Kim Jae-su(金在洙) in 1865 for the symbolic purpose of protecting the palace from fire. The diary also reveals that among Kim Jae-su and the other special technicians(byeolganyeok) tasked with the installation and oversight of the palace stonework was Lee Se-ok(李世玉) - aid to have created the haechi statue at Gwanghwamun Gate. This indicates that there were men of court painter(hwawon, 畵員) background among the construction special technicians(byeolganyeok). Moreover, the diary records the names of the stoneworkers(seokjang, 石匠) who worked under these special technicians to actually carve the stonework. These included Jang Seong-bok(張聖福), who participated in the creation of the Geunjeongjeon Hall(勤政殿); and Kim Jin-myeong(金振明), who took part in the construction of Gwanghwamun Gate(光化門). Based on these results, it is possible to identify a number of special iconographic features of the scale-covered animal form(insuhyeong, 鱗獸形) auspicious animal statues at Gyeongbokgung Palace. These include a protruding mouth and large nose, formalized ears, and a mane along the back. Comparing these iconographic features with those found in the stonework of Joseon tombs makes it clear that these palace statues were created in the latter half of the $19^{th}$ century - the period corresponding to Gojong's palace reconstruction. This study was able to confirm that this iconography was taken up by the Gyeongbokgung Palace construction special technicians(byeolganyeok) and stoneworkers(seokjang) as they worked on tomb stonework earlier in their careers.

• Journal of the Korean Institute of Landscape Architecture
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• v.47 no.1
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• pp.26-38
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• 2019

This study is based on the analysis of the characteristics of waterfront scenery. Recently, waterfront development has expanded residentially, commercially and into leisure space. In the development of the waterfront, it is necessary to apply designs suitable for urban and various other waterfront areas. In this study, the natural scenery of the waterfront was researched with respect to the Korean Jingyeong landscape paintings and the main elements of the scenery were analyzed. In this study, 105 painting of Korean Jingyeong landscapes paintings were selected for the analysis of the waterside scenery. The paintings of Jeong Seon were studied to categorize streams topographically into mountainous, upper, middle, lower, and ocean types. In addition, major micro-topography elements, which are 13 water image elements and 13 staffage elements were analyzed. The main waterfront landscape elements are divided into 13 types. The waterfalls were divided into long waterfalls, short waterfalls, cascading waterfalls, and other aspects considered were line stream, curve stream, multi-curve stream, pond, water surface, flow surface, wave surface, rock side, pile sandy side, sandy side. There are 13 kinds of staffage elements, include pine forest, pine trees, fir trees, bamboo trees, willow trees, broadleaf tree, villages, houses, gazebo, boat, bridges, and people. The waterfront landscape by a river area was explained according to each characteristic of the waterfront landscape and staffage, and their changes were analyzed in each area. The 105 paintings were divided into 35 pieces of mountainous streams, 9 upper streams, 5 middle streams, 35 lower streams, and 21 oceans, and the change of each waterfront landscape and staffage was analyzed. Based on the topographical analysis of the waterfront landscape and staffage, the results can be summarized into 5 types of the waterfront landscape. Based on the micro-topographical characteristics of the waterfront landscape styles are as follow. In the mountainous streams, long waterfall and deep forest type are apparent, which depicts deep mountain waterfall scenery, and a multi-stream forest is the scenery of a picnic in the mountains, which is a representative form of mountainous streams landscape. In the upper-middle stream, the water-surface and gazebo type is predominant. In the lower stream, the sandy-gazebo typ scenery is predominant and the sandy depiction is unique to lower stream landscape. Pile sandy-dock type is life scenes where human activity highlighted, is a representative form of the lower stream landscapes. The characteristic of the coastal landscape is the serpentine rock scenery on the beach and the wave-serpentine rock type that forms the main coastal landscape. The study aims to propose significant design elements for a natural waterfront landscape planning based on the analysis of landscape in the paintings of Jeong Seon.

• Korean Journal of Heritage: History & Science
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• v.54 no.2
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• pp.38-55
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• 2021

Cherwon Castle is located in Pungcheonwon, Cherwon, in the center of the Korean Peninsula. Currently, it is split across the Demilitarized Zone (DMZ) between the two Koreas. It attracts attention as a symbol of inter-Korean reconciliation and as cultural heritage that serves as data in making important policy decisions on the DMZ. Despite its importance, however, there has not been sufficient investigation and research done on Cherwon Castle. This is due to the difficulty involved in investigation and research and is caused by the site's inaccessibility. As a solution, the current investigative methods in satellite and aerial archeology can be applied to interpret and analyze the structure of Cherwon Castle and the features of its inner space zoning. Cherwon Castle was built on the five flat hills that begin in the northern mountainous hills and stretch to the southwest. The inner and outer walls were built mainly on the hilly ridges, and the palace wall was built surrounding a flat site that was created on the middle hill. For each wall, the sites of the old gates, which were erected in various directions , have been identified. They seem to have been built to fit the direction of buildings in the castle and the features of the terrain. The castle was built in a diamond shape. The old sites of the palace and related buildings and landforms related to water drainage were identified. It was verified that the roads and the gates were built to run from east to west in the palace. In the spaces of the palace and the inner castle, flat sites were created to fit different landforms, and building sites were arranged there. Moreover, the contour of a reservoir that is believed to be the old site of a pond has been found; it lies on the vertical extension of the center line that connects the palace and the inner castle. Between the inner castle and the outer castle, few vestiges of old buildings were found, although many flat sites were discovered. Structurally, Cherwon Castle is rotated about nine degrees to the northeast, forming a planar rectangle. The planar structure derives from the castle design that mimics the hilly landform, and the bending of the southwestern wall also attests to the intention of the architects to avoid the wetland. For now, it is impossible to clearly describe the functions and characters of the building sites inside the castle. However, it is believed that the inner castle was marked out for space for the palace and government offices, while the space between the outer and inner castle was reserved as the living space for ordinary people. The presence of the hilly landform diminishes the possibility that a bangri (grid) zoning system existed. For some of the landforms, orderly zoning cannot be ruled out, as flat areas are commonly seen. As surveys have yet to be conducted on the different castles, the time when the walls were built and how they were constructed cannot be known. Still, the claim to that the castle construction and the structuring of inner spaces were inspired by the surrounding landforms is quite compelling.

• Journal of the Korean Institute of Landscape Architecture
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• v.36 no.6
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• pp.43-54
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• 2009

This study attempted to develop a model for selecting sites for ecologically effective, multi-functional wetlands during the environmental and ecological planning stage, prior to land use Planning. This model was developed with an emphasis upon the creation of a water circulation system for a newly-created city, dispersing and retaining the run-off that is increased due to urbanization and securing spaces to create wetlands that can promote urban biodiversity. A series of Precesses for selecting sites for wetland restoration and creation - watershed analysis, selection of evaluation items, calculation of weights, reparation of thematic maps and synthesis - were incorporated into the model. Its potentials and limitations were examined by applying it to the recently-planned WiRae New Community Development Area, which is located in the Seoul metropolitan region. At the watershed analysis stage, the site was divided into 13 sub-catchment areas. Inflow to watersheds including the area was $3,020,765m^3$ Run-off before and after development is estimated as $1,901,969m^3$ and $1,970,735{\sim}2,039,502m^3$, respectively. The total storage capacity required in the development area amounts to $68,766{\sim}137,533m^3$. When thematic maps were overlapped during the selection stage for wetland sites, 13 sub-catchment areas were prioritized for wetland restoration and creation. The locations and areas for retaining run-off showed that various types of wetlands, including retaining wetlands (area wetlands), riverine wetlands (linear wetlands) and pond wetlands (point wetlands), can be created and that they can be systematically connected. By providing a basic framework for the water circulation system plan of an entire city, it may be used effectively in the space planning stage, such as planning an urban eco-network through integration with greet areas. In order to estimate reasonable run-off and create an adequate water circulation system however, a feedback process following land use planning is required. This study strived to promote urban changes in a positive direction while minimizing urban changes in negative forms.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.1
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• pp.27-37
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• 2010

This study tries to illuminate the features and values of the Buddhist temple Palkyung by closely examining the forms, structures, and meanings of Tongdo-palkyung(通度八景) handed down at Tongdosa Temple, the best among Korea's Buddhist temples with its three treasures of Buddha, law of Buddha and Buddhist monks. The findings of this study can be summarized as the following. First of all, it reveals the meaning of the geographical name Yeongchuksan(靈鷲山), located to the west of Tongdosa, and a spectacular sight spread like an eagle's spread wings, as well as its location and spatial features. In particular, the arrangement features of a number of attached hermitages clearly show Yeongchuksan's world as being a temple with buddhist treasures. The multi-layered unfolding and centripetal intention of the scenery can be perceived through the shape of the Sshangryongnongju(雙龍弄珠形), around Tongdosa and the feature of the enclosed landscape encircling the steps of Hyeolcheo(穴處) Geumganggyedan. The substances and components of Tongdopalkyung include sound-based spectacles derived from Beoneumgu(梵音具) creating sounds related to religious rituals to enlighten and redeem mankind, such as Yeongji(影池: a holy pond with shadow reflections), drum sounds, and bell sounds along with physical features like pine trees, Dae(臺), waterfalls, Dongcheon (洞天), and a glow in the sky. On the other hand, Palkyung's geographical arrangements exhibit a circular spatial formation based on the main motif as Buddhist symbolism, beginning with the 'Gukjangsangseokpyo(國長生石標)' awakening the territoriality of Tongdosa and locating the first scene 'Mupunghansong(舞風寒松)' in its introductory area, with the features of water, bridge, pine grove, and Iljumun(gate) to stand for the influx. Six other scenes including 'Anyangdongdae(安養東臺)' are placed in the sacred precincts around Daeungjeon and Geumganggyedan while the glow of sunset at 'Danjoseong' just outside the domain closes the symbolic circular formation of the Tongdopalkyung, which coincides with the development of the Mandala figure symbolizing 'Gusanpalhae(九山八海)' centered in Sumisan(須彌山). What is more, Tongdopalkyung, while excluding primary scenic elements inside the temple, maximizes the domain of the mountain's entrance and the effects of the multi-layered mountain, mountain upon mountain, by intensifying the influx and centripetal qualities. The Tongdopalkyung analysis reveals the antithesis of four-coupled scenes conveying buddhist principles and thoughts on the basis of seasons, directions, space and time to display a narrative structural landscape when viewed from the temple's territoriality. Likewise, the characteristics and porch structures of Tongdopalkyung are tools and language of symbols to both externally strengthen the temple's territoriality and to internally, maximize the desires to the Land of Happiness as well as intensify religious wishes and the Mandala's multi-layered qualities through the meanings of time and space.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.3
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• pp.60-71
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• 2010

The purpose of this paper is to provide a unified examination of apparently quite different gardens in terms of Carl Jung's psychological concepts such as Archetypes, Individualization, and a natural tendency towards balance or wholeness. In Jung's psychological framework, Archetypes are innate, universal prototypes for ideas and function as the first original models upon which all other similar persons, objects or concepts are derived, copied or patterned. Jung proposes that Individualization be achieved through a natural tendency towards balance, especially the balance between the conscious and the unconscious. This paper deals with three gardens, each of which represents a distinct cultural region: Bu-Yong Ji(芙蓉池) at the Changdeok Palace(Oriental), the Patio of the Lions at the Alhambra(Islamic), and the Fountain of Apollo at the Versailles Palace(Western). It is argued that all of three have in common a natural tendency towards balance and symbolize mandala, the archetype of wholeness. Bu-Yong Ji is in the form of quadrangle which embodies Yin and Yang. In the Patio of the Lions, the basin at the center and the four channels, which symbolize the waterway of the Garden of Eden and the four rivers in Paradise respectively, are constructed in the form of a quadripartite composition. The overlapped circle and rectangular shaped pond of the Fountain of Apollo also represents mandala. Symbols representing the same archetype can vary from culture to culture. This explains the differences among the three gardens with respect to specific aspects of external forms. In other words, an archetypal image can give rise to various forms in different cultures, and thus quite different mediums of design or design details may be developed. In conclusion, the three gardens give us a good example as to how an archetypal image can be expressed in different ways from culture to culture and how seemingly different design details can be analyzed in a unified way.

• Korean Journal of Heritage: History & Science
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• v.39
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• pp.59-93
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• 2006

Wolseong in Gyeongju is a historic fortress site of Silla constructed under the reign of Pasanisageum that played politically and militarily important roles. The moat surrounding Wolseong had a function of protecting the fortress in wartimes but became a part of gardening in the unified Silla era. Lots of relics have been excavated from Wolseong moat since 1985. Among them a great number and kinds of convex roofing tiles are regarded as invaluable sources to show different aspects of Silla, from its earlier time through to the unified and on. Roofing tiles were widely used for national buildings such as royal palaces, temples and fortresses and even for other popular architecture and have been dug out a lot more than any other relics. Research on them, however, has been done poorly. Vigorous study is in progress with increasing number of roofing tiles coming from many recent excavations, though it has been limited to the studies on general genealogy of patterns and manufacture processes. Thus this essay seeks to find which are dongbeomwas, roofing tiles of a same mold, out of convex tiles with the pattern of a unilobed lotus flower dug out of Wolseong moat. It also attempts to identify dongbeomwas by examining detail characteristics of roofing tiles which have been confusingly termed as yusawa, similar roofing tiles, or donghyeongwa, roofing tiles of the same shape. The significance of identifying dongbeomwas could be emphasized by various facts resulting from researches on dongbeomwas; the ways to identify them correctly, their time sequence and their excavated sites. In conclusion, dongbeomwas were identified out of many kinds of convex tiles. If they were excavated from the same site, they share some common features. The sites where they were dug out also tell what changes were made with passage of time and what relations they had with neighboring Anapji. Since roofing tile molds haven't been found yet, the only way to identify dongbeomwas is to examine details of roofing tiles. Dongbeomwas excavated in Wolseong moat help to discuss the time of each district of it. Meanwhile it should be noted that the term 'dongbeomwa' be used only after exact examining.