• Journal of the Korean housing association
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• v.14 no.4
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• pp.77-85
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• 2003

The facade design of apartment is getting more important, since residents'needs on raising the quality of housing have increased, and also public interests on urban landscape are higher than before. As a way of improving facade design the necessity of remodeling consequently has been risen. The government also relieves the regulations related to remodeling. A apartment facade design should address how to express both identities and aesthetic tastes of residents, so they want to reflect their own ideas and opinions on the apartment facade design during the remodeling process. It is not always easy, unfortunately, to reflect residents'ideas and opinions due to the public characteristics of apartment facades and absence of tools that support effective design participation. This paper proposes an internet-based collaborative design process that supports residents'active participation in the exterior remodeling process of apartment. We outline three main issues involved in developing the design system: 1) a semantic facade database built upon classification of building facades; 2) an Internet-based facade modeler based on a real-time, rule-based procedural modeling method; and finally 3) the virtual reality(VR) simulation that allows a group of designers and residents to design in a collaborative fashion.

• Archives of Plastic Surgery
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• v.49 no.5
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• pp.652-655
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• 2022

Patients with advanced malignant tumors, including both jaws, is a challenging task for a head and neck surgeon. Current treatment landscape demonstrates good functional, anatomical, and aesthetic results in patients who could previously receive only palliative care. The extensive tissue defects resulting from oncological resections in the head and neck region require immediate reconstruction due to the exposure of vital structures and their contact with the external environment. A patient was operated using a three-team multidisciplinary approach involving simultaneous work of three specialized teams of maxillofacial and reconstructive microsurgeons, as well as an implantologist and a prosthodontist. This approach allowed simultaneous tumor resection with subsequent reconstruction of the intraoperative defect involving bilateral harvesting of two revascularized free fibular osteomusculocutaneous flaps with dental implantation and simultaneous rehabilitation of dentition with crowns.

• Science of Emotion and Sensibility
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• v.25 no.3
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• pp.107-116
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• 2022

Purpose: Researchers have shown that aesthetic judgments of artworks depend on contexts, such as the authenticity of an artwork (Newman & Bloom, 2011) and an artwork's location of display (Kirk et al., 2009; Silveira et al., 2015). The present study aims to examine whether contextual information related to the creator, such as whether an artwork was created by a human or artificial intelligence (AI), influences viewers' preference judgments of an artwork. Methods: Images of Impressionist landscape paintings were selected as human-made artworks. AI-made artwork stimuli were created using Google's Deep Dream Generator by mimicking the Impressionist style via deep learning algorithms. Participants performed a preference rating task on each of the 108 artwork stimuli accompanied by one of the two creator labels. After this task, an art experience questionnaire (AEQ) was given to participants to examine whether individual differences in art experience influence their preference judgments. Results: Setting AEQ scores as a covariate in a two-way ANCOVA analysis, the stimuli with the human-made context were preferred over the stimuli with the AI-made context. Regarding the types of stimuli, the viewers preferred AI-made stimuli to human-made stimuli. There was no interaction effect between the two factors. Conclusion: These results suggest that preferences for visual artworks are influenced by the contextual information of the creator when the individual differences in art experience are controlled.

• Steel and Composite Structures
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• v.51 no.5
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• pp.499-507
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• 2024

The paper delves into an emerging paradigm shift in architectural design, focusing on the development of a cutting-edge methodological framework for the artistic enhancement of nanocomposite brick facades in building construction. This innovative approach represents a fusion of art and science, harnessing the potential of advanced nanotechnology to redefine the aesthetic and functional properties of building exteriors. Central to this new methodology is the integration of state-of-the-art materials and fabrication techniques, aimed at not only elevating the visual appeal of architectural structures but also enhancing their structural robustness and environmental sustainability. By leveraging the unique characteristics of nanocomposite materials, the proposed method opens up new possibilities for pushing the boundaries of traditional brick facade design. Through a meticulous exploration of the intricacies involved in implementing this novel approach, the paper elucidates the transformative impact it can have on the architectural landscape. By marrying creativity with technical precision, the method environment for art design of nanocomposite brick facades promises to usher in a new era of sustainable, visually captivating, and structurally resilient building facades that are poised to redefine the very essence of architectural aesthetics.

• Journal of the Korean Institute of Landscape Architecture
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• v.41 no.6
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• pp.72-83
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• 2013

This study suggests the necessity of landscaping alternatives for the succession of Takjok(濯足) culture by considering the background and meaning of Takjok's cultural phenomenon shown in old literatures and paintings and its result is as follows. An old idiom, 'Takyoung Takjok(濯纓濯足)' implying a disinterested living attitude from the mundane world and an attitude complying with nature, has been sublimated to 'Takjokjiyu(濯足之遊)' which means living in comfortable retirement through life in seclusion(隱逸). Classical scholars immerse their feet in soft-flowing(柔軟) water for 'Mulailche(物我一體; synchronized with nature)' which is a unified condition with 'Do(道; truth)' and connected to the stage of 'Yu(遊)', a free mental state, and its nature. The cultural phenomenon of Takjok appeared in the inherited landscape paintings in the Joseon dynasty period after the late stage of Koryo. Takjok shown in 'Pal Kyung Shi'(八景詩; poetry singing for the eight scenary) was described as not a transcendent scene, but as a scenery of daily life. Dense forest and water, such as a stream with clean water, rocks, and pine trees shown in Takjok paintings have been symbolized as a seclusion space for classical scholars with higher thinking and their mental states have been more emerged. Mental pleasures called as seclusion and Takjokjiyu have been relatively emphasized in the Takjok paintings of the Joseon Dynasty period contrary to the Chinese Takjok paintings emphasizing Chung Gye(淸溪; clean stream) and Chang Rang(滄浪; high and clean wave) and strongly representing the image of 'Chung Ryu'(淸流; clean flowing water) and the veneration for antiquity. The view of nature described in the Takjok paintings represents the provision of nature as a situation and attitudes of classical scholars and implies a Taoism perspective which describes the 'do' of nature. This view of nature itself remained intact(無爲自然) with the love of mountains and water, showing a side of the zeitgeist and aesthetic consciousness of China and Joseon. The 'Takjokjiyu' of both countries has be interpreted as a symbol of personality development, behavior, life in seclusion, or transcending the mundane world and has also been accepted as a method of summer vacation in the real world. It should be considered that Takjok includes ordinary people's wisdom to resist the hot weather, as well as the classical scholar's ideal and the veneration of antiquity. From this perspective, water space, Takjok rocks, and the use of water based on the environmental supportability should be newly focused as a recreational space and it reminds us that the spirit of Takjok is a classical mental healing method.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.37 no.3
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• pp.1-12
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• 2019

A bridge is a structure constructed on water or in the air for convenient passage. Compared to other buildings, the building materials and structures of bridge required unique functions to cross the space. It depends on the productivity of the building, the level of science and technology, and the ecological environment of the building site. Also, it has important relationship with functions such as politics, military, economy, and life. Most of the academic research on bridges is focused on research in the field of bridge-building technology, so the study on the landscape aesthetics and history of bridges is lacking. Against this backdrop, the study will be valuable as a accumulation of both countries' understanding of bridge types, history and culture, as well as technical and aesthetic data, by analyzing the bridges located within the palaces of Korea and China. The research method is to analyze the bridge through field survey and literature analysis.. First, the bridges of royal palace of Korea and China are to be classified quantitatively as physical shapes, landscapes, and decorations by comparing the materials, forms, landscapes, and decorative culture of bridges. Second, characteristics, common points, and differences are extracted by classifying bridges of both countries. Also, the results are discussed based on the physical environment or cultural background. This would be worth cross-referencing in the building technology and aesthetics of the two countries. For the first important characteristics of result, main materials of Korean and Chinese palaces are stone. However, the bridge in China's royal palaces is also focused on wood. Second, in terms of form, the bridges in the royal gardens of Korea and China are all based on the beam bridge. However, the specific form, ratio, style of the beam bridge, and airspace of arched bridge are very different. Third, most of the connection methods are focused on the over bridge. It values the convergence with the surrounding landscape. Due to the difference in the area and location of water, the bridge in the Korean palace is more focused on the convergence of the surrounding buildings and plants, while the bridge in the Chinese palace is more concerned about the harmony of hydration. Fourth, the decoration places importance on the artistry and aesthetics of both the bridges in Korea and China. There is a difference in style in the same type of decoration due to culture.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.1
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• pp.76-89
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• 2012

This study aimed at carrying out a semantic interpretation of the core Design language that seemed to influence deeply in the creation of the ChwuiseokJeong wonlim of Gochang. Especially, this paper aimed at inferring how the spiritual culture of seclusion of the 16th century influenced the creation of the wonlim by understanding the metaphor and symbolism by grasping the transmission meaning and reception meaning of the creators and the people concerned with keywords like Eunil(隱逸: seclusion), Chwuiseok(醉石), and Chilseongam(七星巖). 'Building up a wall' was intentionally carried out in order to represent 'Seven Stars(The Big Dipper)' inside of the wonlim. This is a kind of two-dimensional 'enframement', and a result of active creation of a meaningful landscape. From Chilseongam that was created by assembling, we presumed that Kyung-Hee Kim, Nohgye(蘆溪), the creator showed the recognition and thoughts of astronomy as a Confucian scholar that the ChwuiseokJeong Wonlim where he secluded is the center of the universe. The interpretation of words in Nohgyezip, an anthology, showed that the articles and writtings of Nohgye, his decsendants, and the people of ChwuiseokJeong included alcohols, Chwuiseok, Yeon-Myung Do, and Yuli(栗里) where Do secluded; this means that Nohgye ranked himself with Do because Nohgye also lived in peace by drinking alcohols and enjoying nature like Do did. 'Drinking' was what expressed the mind of Nohgye who wanted to be free and have the joy of enjoying mountains, water, and their landscape like Do did. In other words, 'Drinking' is the symbol of freedom that makes him forget himself and equate himself with nature. These are the representation, imitation, and mimesis of respecting Yeon-Myung Do. As the alegory of 'speaking something with other things' suggested, it is possible to read 'Chwuiseok', came from the story of Yeon-Myung Do, in multiple ways; it superficially points out 'a rock on which he laid when he was drinking', but it also can be interpreted as 'an object' that made him forget his personal troubles. In addition, it means freewill protecting unselfish mind with the spiritual aberration of drinking, 'Chwui(醉)', mentally; also, it can be interpreted metaphorically and broadly as a tool that makes Nohgye reach to the state of nature by the satisfied mind of Yeon-Myung Do. 'Chwuiseok' was a design language that showed the situation of Nohgye by comparing his mind with the mind of Yeon-Myung Do from the Confucian point of view, and a kind of behavioral mimesis based on his respect to Do and 'aesthetic representation of objective reality.' It is not coincidental that this mimesis was shown in the engraved words on Chwuiseok and the creation of ChwuiseokJeong that has the same name with Chwuiseok in Korea and China.

• Journal of the Korean Society of Environmental Restoration Technology
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• v.4 no.3
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• pp.84-95
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• 2001

This study was conducted to suggest the ecological restoration methods for the decomposed granite roadside cutslopes by Natural Topsoil Restoration Methods(NTRM). Four woody species, 3 shrub species, 4 native grasses, 8 wild flowers and 2 cool-season grasses were used. The experiment was conducted with the purpose of developing ecological restoration techniques by achieving following objectives for restoration by using native woody plants, shrubs, native plants and wild flowers; (1) prevention or reduction of wind and water erosion, (2) provision of food and cover for variety of animal species, (3) improvement of the visual or aesthetic quality of disturbed sites. The main results were summarized as follows. 1. Restoring naturalness to human-altered landscapes are important to protecting the worlds biodiversity. In this study, to restore or create an ecological community use as full a complement of native species as possible. Ecological restoration means returning a specific sites to its predisturbance condition. 2. Some species which are introduced first may inhibit the germination and growth of slower-growing species, or they may prevent the growth of other species whose propagules arrive later. In this study, cool season grasses was used small amount than native plants and woody species, because and Indigofera pseudo-tintoria grows well. Tall fescue and perennial ryegrass shows quick germination, but they could not inhibit the other species growing relatively slow. Pinus thunbergii used at Gonam near the ocean was suppressed by the other plants, so it can be concluded that using container seedlings is effective than seeding. 4. Ailanthus altissima, Albizzia julibrissin, Rhus chinensis Lespedeza cyrtobotrya, and Indigofera pseudo-tinctoria were germinated. In wild flowers, Coreopsis lanceolata, Dianthus sinensis, Coreopsis tinctoria, and Lotus corniculatus var. japonicus grew well and show enough plant height which will not suppressed by shrub and woody plants. After one year, native grasses such as Arundinella hirta, Miscanthus sinensis var. purpurascens and Imperata cylindrica var. koenigii cover the slopes well. 5. 25 herbaceous plants such as Trifolium repens, Arthraxon hispidus, Barbarea orthocerae, Potentilla fragarioides, Lepidium apetalum, Chenopodium album var. centrorubrum, Glycine soja, Rubus crataegifolius and 4 woody species such as Lespedeza maximowiczii, Robinia pseudoacacia, Symplocos Chinensis, Quercus acutissma were invaded. 6. Ecological restoration works by Natural Topsoil Restoration Methods for revegetation of the decomposed granite roadside cutslopes were successfully accomplished. It prevents surface water erosion and shows diverse vegetation structure. It will be successful to restore decomposed granite cutslopes.

• Journal of the Korean Institute of Landscape Architecture
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• v.41 no.3
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• pp.72-82
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• 2013

This study was done for analyzing processes on the planning and opening of chronological urban parks in Daegu City since the 1960s, and for interpreting the social meaning on changes of the urban parks with regards to historical circumstances during that period. In the 1960s, urban parks, which were recognized as one of urban planning facilities, were only designated for creating rather than created, although nationally several laws including urban planning act and park act were newly legislated. Rapid urbanization and increasing population in the 1970s led to create many urban parks. However, the policy for increasing parks had been not successful because of the lack of enough funds. In the 1980s, multi-purpose urban parks including stable area as well as active facilities were created for getting several attractions to urban residents. During this period, urban parks were recognized on an aesthetic perspective through vegetating plans on the city-beautiful movement for hosting consecutive international games. The citizen participation in urban parks and the increasing concern about urban environment were started in the 1990s, and the people living in an urban area were interested in the quantitative expansion and qualified renovation of the urban parks as well. Finally, modernistic urban parks were first introduced in the late period of Chosun Dynasty, however their substantial introduction was done in the 1960s. Through this study, the concept of an urban park as a public resting place for citizen in Daegu was thought to be mostly established in the 1990s as we have investigated on the social meaning derived from the periodical changes of urban parks.

• Journal of the Korean Geographical Society
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• v.51 no.1
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• pp.1-21
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• 2016

The objects of this study are to identify values of criterion(vii) and to consider a possibility of application of criterion (vii) of UNESCO World Heritage to Mt. Seoraksan Natural Reserve based on the analysis of the concept of criterion (vii) and justifications of World Heritage sites under criterion (vii). According to the analysis results of 114 Natural Heritage sites under criterion (vii) listed between 1978-2015, detailed values of the criterion and their applied cases were categorized into 10 values. Based on this category, values were drawn that could be applied to Mt. Seoraksan and support the justification of criterion (vii) in three aspects. First, the value of visuality could be applied to Mt. Seoraksan due to its abundance of Scenic Sites, which means it has been recognized as an area with natural beauty by government. Second, the value of comprehensiveness of geomorphological landscape could be applied to Mt. Seoraksan in that it shows all kinds of granite landform in a relatively limited area. Finally, the value of comprehensiveness of geomorphological landscape could be again applied due to its overall mountainous river landscape.