• Korean Journal of Agricultural and Forest Meteorology
• /
• v.11 no.4
• /
• pp.192-205
• /
• 2009

The unexpected wind over the Mt. Hwawang on 9 February 2009 was deadly when many spectators were watching a traditional event to burn dried grasses and the fire went out of control due to the wind. We analyzed the fatal wind based on wind flow simulations over a digitized complex terrain of the mountain with a localized heating area using a three dimensional computational fluid dynamics model, CFD_NIMR_SNU (Computational Fluid Dynamics_National Institute of Meteorological Research_Seoul National University). Three levels of fire intensity were simulated: no fire, $300^{\circ}C$ and $600^{\circ}C$ of surface temperature at the site on fire. The surface heat accelerated vertical wind speed by as much as $0.7\;m\;s^{-1}$ (for $300^{\circ}C$) and $1.1\;m\;s^{-1}$ (for $600^{\circ}C$) at the center of the fire. Turbulent kinetic energy was increased by the heat itself and by the increased mechanical force, which in turn was generated by the thermal convection. The heating together with the complex terrain and strong boundary wind induced the unexpected high wind conditions with turbulence at the mountain. The CFD_NIMR_SNU model provided valuable analysis data to understand the consequences of the fatal mountain fire. It is suggested that the place of fire was calm at the time of the fire setting due to the elevated terrain of the windward side. The suppression of wind was easily reversed when there was fire, which caused updraft of hot air by the fire and the strong boundary wind. The strong boundary wind in conjunction with the fire event caused the strong turbulence, resulting in many fire casualties. The model can be utilized in turbulence forecasting over a small area due to surface fire in conjunction with a mesoscale weather model to help fire prevention at the field.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.42 no.6
• /
• pp.72-88
• /
• 2014

This study was conducted in order to analyze user behavior and preference factors in the outdoor spaces of mental hospitals. Among hospitals with 250 or more beds, 5 hospitals were selected in consideration of size of garden and diversity of garden elements. The subject of the study was restricted to mild cases of schizophrenia while 30~50 patients were selected on the recommendation of their doctor from 5 hospitals, respectively. The physical environment was analyzed, focusing on space components, after visiting the sites of study. A face to face interview method was selected in consideration of patients' cognitive abilities, a total of 230 questionnaires were used for the analysis. The results of the study can be summarized as follows. Rest facilities occupy the largest numbers in the components of garden, and those are followed by landscape facilities, walking/exercise facilities, and experience facilities. Outdoor walking/exercise programs are classified into group walks and free walks with most patients taking group walks. Most of the patients visit these outdoor spaces every day but some of them rarely use the outdoor areas. In order to increase the efficiency of using these outdoor spaces, the percentage of space for ensuring a sense of control should properly harmonize with the percentage of space to facilitate patients in having social contact. With regard to the reasons for preferring the most widely-used outdoor spaces, landscape/environment property was the most important, followed by functionality and then accessibility. Major activities in the preferred space are mainly composed of walking/exercise and rest. The preferred facilities are waterscape facilities such as ponds, waterfalls and fountains, rest facilities such as pergolas and shade trees, and lawn. It was understood that naturalness should be considered to be the most important factor in constructing a new healing garden, followed by aesthetics and amenities. Single facilities rated by preference for introduction were flower beds, trails, and lawn. According to type, waterscape facilities such as fountains, ponds, waterfalls and waterwheels were most preferred. Space for natural distraction and programs for the cultivation of flower beds were also preferred. The ideal image of a healing garden should be bright, familiar, and orderly as a whole, having plenty of introduced facilities. Open spaces were preferred to enclosed spaces. Finally, the image of a garden that helps patients feel calm was thought to be that of the most ideal garden.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.34 no.2
• /
• pp.1-15
• /
• 2016

This study aims at the consideration of the usages of traditional waterscape elements, which are difficult to define their concepts and their differences and it has been proceeded mainly with analysis of literature. It elicited various waterscape types by extracting the place names associated with the watersacpe elements from the chapter "Sancheon" of the volumes Gyeongsang-province in "Sinjeung Donggukyeojiseungram", which is a government-compiled geography book in the early period of Joseon Dynasty, and drew the features of each waterscape element by interpreting the dictionary definition and the original text and studying the similar examples. The results of study are drawn as follows. 1. The chapter "Sancheon" includes 22 types of waterscape elements and they are classified by means of locations and water-flow forms: River Landscape, Lake & Pond Landscape, Coast landscape. 2. River landscape maintaining constant natural water-flow constitutes the linear type, related to the class of stream, which includes 'Su(water)', 'Gang(river)', 'Cheon(stream)' and 'Gye(brook)' and the dotty type, created by the nature of trenched meander rivers, which includes 'Tan(beach)', 'Roe(rapids)', 'Pok(waterfall)' and 'Jeo(sandbank)'. 3. Lake & Pond Landscape forming water collected in a certain area constitutes 'Ho(lake)', which is a broad and calm spot created around mid and down stream of river, 'Yeon(pool)', 'Dam(pond)', 'Chu(small pond)', which are naturally created on the water path around mid and down stream of river, 'Ji(pond)', 'Dang(pond)', 'Taek(swamp)', which is collected on a flatland and 'Cheon(spring)', 'Jeong(spring)' which means gushing out naturally. 4. Coast Landscape includes 'Ryang', 'Hang', which are the space between land and an island or islands, 'Got(headland)' which sticks out from the coast into the sea, 'Jeong(sandbank)' which forms sandy beaches and 'Do' which shows high appearance frequency by reflecting the geographical importance of islands. This study comprehended the diversity of traditional waterscape elements and drew the fact that they are the concept reflecting the differentiated locational, scenic and functional features. That way, it understood the aesthetic sense on nature, which ancestors had formed with the interests in natural landscape and the keen observation on it, became the basic idea elucidating the characteristic on Korean traditional gardens, which minimize the artificiality and make nature the subject.

• Korean Journal of Heritage: History & Science
• /
• v.53 no.2
• /
• pp.254-269
• /
• 2020

The purpose of this study is to propose guidance for wall renewal that is appropriate for an ancient city wall through application of advanced research and theories in wall design. It is a streetscape improvement project which forms part of the "Ancient City Image Finding Project". Study methods consist of advanced research classification, wall design theory contemplation, and analysis of the significance of designated ancient city areas and the "Ancient City Image Finding Project" status. Based on these methods, case study candidates were selected, case status and problems were identified, and improvement proposals were analyzed by comparing various features. Advanced wall research was classified into six categories including analysis of wall characteristics; wall design principle applications; wall structure, color, shape, and application; modern reinterpretation; palace walls; and house, temple, and village walls. The wall is an element of the streetscape improvement component of the "Ancient City Image Finding Project", with the characteristic of providing preceding experience in visual and cognitive awareness than interior structure. Case candidates for ancient city wall improvement are based on the composition distribution of the special conservation district in each ancient city as well as the conservation promotion district. Ultimately, the surrounding village of Gongju-si Geumseong-Dong Songsanri-gil, adjacent to the Royal Tomb of King Muryeong, was selected as the candidate. The "Ancient City Image Finding Project" of the surrounding village of Gongju-si Geumseong-Dong Songsanri-gil began with new Hanok construction. However, wall maintenance did not begin concurrently with that new Hanok construction. Support and maintenance took place afterwards as an exterior maintenance project for roadside structures. If the Hanok and wall were evaluated and constructed at the same time, the wall would have been built in unison with the size and design of the Hanok. The layout of the main building and wall of the Hanok is deemed to be a structure that is closed tightly because of its spatial proximity and tall height. Songsan-ri-gil's wall design should create a calm, subtle, and peaceful atmosphere with shapes, colors, and materials that express ancient city characteristics, but it is in an awkward position due to its sharpness and narrowness. The cause of the problem at Gongju-si Geumseong-dong Songsanri-gil, the case candidate, is that it is lacking significantly in terms of the aesthetic factors that traditional walls should possess. First, aesthetic consciousness seems to have disappeared during the selection and application process of the wall's natural materials. Second, the level of completion in design and harmony is absent. Maintenance guidance after analyzing the cause of problems in ancient city wall maintenance at Gongju-si Geumseong-dong Songsanri-gil, the subject area of research, is as follows: First, the Hanok design and layout of the wall and main gate should be reviewed simultaneously. Second, the one-sided use of natural stone wall in the Hanok wall design should be reexamined. Third, a permanent system to coordinate the opinions of citizens and experts during the planning and design phases should be employed. Fourth and finally, the Hanok's individuality shall be collectivized and its value as a cultural asset representing the identity of the community shall be increased.

• The Sea:JOURNAL OF THE KOREAN SOCIETY OF OCEANOGRAPHY
• /
• v.8 no.4
• /
• pp.357-368
• /
• 2003

Time-series CTDT (Conductivity/Temperature/Depth/Transmissivity) were obtained at one point near tidewater glacier of Marian Cove (King George Islands, Antarctica) to present water column properties and SPM (suspended particulate matter) dispersal pattern in relation with tide, current, meteorological data, and SPM concentration. Four layers were divided from the water column characteristics measured in the interval of an hour for about 2 days: 1) cold, fresh, and turbid surface mixed layer between 0-20 m in water depth, 2) warm, saline, and relatively clean Maxwell Bay inflow between 20-40 m in water depth, 3) turbid/cold tongue of subglacial discharges compared with the ambient waters between 40-70 m in water depth, and 4) cold, saline, and clean bottom water beneath 70 m in water depth. Surface plume, turbid freshwater at coastal/cliff area in late summer (early February), had the characteristic temperature and SPM concentration according to morphology, glacial condition, and composition of sediments. The restrict dispersion only over the input source of meltwater discharges was due to calm wether condition. Due to strong wind-induced surface turbulence, fresh and turbid surface plume, englacial upwelling cold water, glacier-contact meltwater, and Maxwell Bay inflow was mixing at ice-proximal zone and the consequent mixed layer deepened at the surface. Large amount of precipitation, the major controlling factor for increasing short-term glacial discharges, was accompanied by the apparent development of subglacial discharge that resulted in the rapid drop of salinity below the mid depth. Although amount of subglacial discharge and englacial upwelling may be large, however, their low SPM concentration would have small influence on bottom deposition of terrigenous sediments.

• FLOWER RESEARCH JOURNAL
• /
• v.18 no.2
• /
• pp.125-135
• /
• 2010

To discover the main characteristics of Korean traditional flower arrangement, they were compared with different articles and old paintings used in royal court ceremonies. The primary research involved principle of design. The times periods used were the Joseon Dynasty era of Korea, the Ming era of China, and the Edo eras of Japan. The result, which shows both the similarities and differences, of the research is summarized as follows. The similarities were that they all respect the features of nature, and their image expresses their creator's thinking. There was one technique, called 'Suje', in which a part of the stem is coming out from one branch. Also, each three eras preferred flowering trees and ornamental trees more than annuals or foliage plants. one of the differences was that korea used a simple number of materials. The work had volume and appeared mild by using a soft curved line which was repetitive and massive. The Joseon Dynasty era advanced a sense of beauty with artistic symmetry and balance. The work seemed soft and natural because of the little change in blank space, with almost no angle of line. The form had a characteristic preference of being taller than the typical Japanese arrangement. It appeared simple, calm, and rustic by using only one kind of material. In contrast, the Chinese style was gorgeous and displayed volume in a non-symmetrical tripodal form, which incorporated various colors and materials. Also, they avoided processing the materials in order to emphasize the original beauty of nature. Chinese flower arts did not become formalized because they did not consider the formality seriously the formal. The Japanese style was also gorgeous because it incorporated various materials and angles. It included an extreme technique in which an artificial line divided the blank space delicately. The line was both strong and delicate in an established form. The restriction of the main branch gave a light feeling, as well as more strain as in a balance sense. The Japanese eras emphasized more the use of line and a sense of blank space.

• Journal of Korean Classical Literature and Education
• /
• no.34
• /
• pp.115-147
• /
• 2017

This paper compared and reviewed the poetic theories and Chinese poems of the Korean author Kim Chang Heup and his Japanese counterpart, Kan Chazan. Kim Chang Heup and Kan Chazan shared largely the same opinions on poetry, and both rejected archaism. First, they did not just copy High Tang poetry. Instead, they focused on the (sometimes trivial) scenery right in front of them, and described the calm feelings evoked by what they had seen. They also adopted a sincere tone, instead of an exaggerated one, because both believed that poetry should be realistic. However the differences between the two poets are also noteworthy. Kim Chang Heup claimed that feelings and scenery meet each other within a literary work through Natural Law, and the linguistic expressions that mediate the two are philosophical in nature. However, Kan Chazan did not use Natural Law as a medium between feelings and scenery. Instead the Japanese writer said the ideal poetical composition comes from a close observation and detailed description of scenery. In sum, while Kim Chang Heup continued to express reason through scenery, Kan Chazan did not go further than depicting the scenery itself. In addition, Kim Chang Heup believed poetry was not only a representation of Natural Law, but also a high-level linguistic activity that conveys a poetic concern about national politics. As a sadaebu (scholar-gentry), he held literature in high esteem because he thought that literature could achieve important outcomes. On the other hand, Kan Chazan regarded it as a form of entertainment, thereby insisting literature had its own territory that is separate from that of philosophy or politics. In other words, whereas Kim Chang Heup considered literature as something close to a form of learning, Kan Chazan viewed it as art. One might wonder whether the poetics of Kim Chang Heup and Kan Chazan reflect their individual accomplishments, or if the characteristics of Chinese poetry that Korean and Japanese poets had long sought after had finally surfaced in these two writers. This paper argued that the two authors' poetics represent characteristics of Chinese poetry in Korea and Japan, or general characteristics of Korean and Japanese literatures in a wider sense. Their request to depict actual scenery in a unique way, free from the ideal model of literature, must have facilitated an outward materialization of Korean and Japanese literary characteristics that had developed over a long time.

• Korean Journal of Heritage: History & Science
• /
• v.41 no.2
• /
• pp.79-97
• /
• 2008

Four Wangs' landscape style (四王山水畵風), which had appeared in Beijing in the early 18th century, widely spread to Korea and Japan in the 19th century and became a significant basis for developing new painting styles in both countries. It was first introduced to Korea by Shin Wi (申緯) and Kim Jeong-hee (金正喜) who associated with literary men of the Qing Dynasty. Being influenced by them directly or indirectly, Shin Myeong-yeon (申命淵), Yi Han-cheol (李漢喆), Yu Suk (劉淑), Changv Seung-eop (張承業), An Choog-sik (安中植), and Jo Seok-jin (趙錫晋) attempted to adapt Four Wangs' landscape style and it later became a main Stream painting style of the Korean painting circles. Based on Four Wangs' landscape style, their landscape paintings had something in common in that they captured natural features from a short distance using the Down-Up prospective and placed guardian mountains across mountain streams by making a tall tree in the right or left bottom of the canvas as the starting point. However, recently unveiled court painter An Geon-yeong (1841~1876)'s the Landscape Screen is remarkable in that it is based on Four Wangs' style, which was in fashion in the late 19th century, but shows different aspects from other Four Wangs' style paintings in terms of feature capturing, brush stroke and colors. While most of An Geon-yeong's existing paintings are small ones, this folding screen is a big piece consisting of six-fold landscape paintings. In particular, it shows new aspects by creating a serene and calm atmosphere through the description of various landscape scenes with thin brush strokes using glossy ink, by showing a macroscopic view in some paintings through feature capture using a birds-eye view method, and by giving life to the canvas through smoke and clouds. This painting style is considered to be linked with those of Wang Xue-hao (王學浩, 1754~1832), Tang Yifen (湯貽汾, 1778~1853) and Dai Xi (戴熙, 1801~1860), based on Four Wangs' style in the early 19th century's Jiangnan Circle (江南 畵壇), who tried to express the energy and vitality of real landscapes by going around China's well-known mountains and complementing painting styles with drawing from nature. Therefore, An Geon-yeong's six-fold Landscape Screen is very significant as a rare case proving the introduction and reception of Jiangnan Circle's Four Wangs' landscape style which was different in many aspects from Beijing Circle in the 19th century.

• Korean Journal of Heritage: History & Science
• /
• v.42 no.1
• /
• pp.100-121
• /
• 2009

This study is subjected to those gardens of the Korean Folk Village 'Oeam-Ri' designed in 1920s. - transitional period of traditional gardens - and define socio-cultural change's influences and through documents on garden design, descendant's testimony and measured drawings, to understand that period's garden culture's characteristics according to garden design elements. This study applied following analysis methods and procedures to derive out characteristics of transitional garden culture. Analysis on socio-cultural characteristics in 1920s. Analysis on actual condition of transitional garden's design. In this point Outline of the Garden, Space formation, Garden designing elements are (1) water landscape, (2) plant, (3) structures, (4) paving, to derive out characteristics of the transitional garden. The results follow as below; First, during the transitional period 1920s, the economical development, fueled by opening nation's door to foreign countries and indication of collapse of statue systems together with idea of practical science and Enlightenment Thought, was element of changes in garden style. Second, Garden Designers of transitional gardens in 'Oeam-Ri' were limited to upper class of the society. They were wealthy enough to maintain their high social statue in rapidly changing society. As results, tendency of returning to nature developed gardens located in a site of scenic beauty and development of geographical features arranging techniques, and also showed copying foreign styles. Third, arrangement of garden and space composition, in most cases, composed of buildings and yards. Changes in water landscape features and garden spaces are centered to main-yard. Major changes of the garden spaces are water landscapes and plants that showing foreign influences. Fifth, scenic appearance techniques appears with dense garden space and emphasizing visual scenic view. Sixth, the characteristics of transitional garden design techniques are development of geographical feature arranging techniques, changes and mixture of the materials and garden types, emphasizing garden's decorative beauty, change of concept of yard within house into garden, changes from 'borrowing of landscapes' to 'selecting landscapes', changes of front garden from emptiness to fullness, changes of attitudes of enjoying gardens from 'staying calm in the garden' to 'moving or walking in the garden', changes to inner-oriented view, and changes from 'just watching and enjoying the nature' to 'enjoying specific objects'. This study is one of the efforts to restore the identity of Korean Traditional Garden by approaching and observing modern era which function as bridge between tradition and present day, and we observed transitional aspects of changes of traditional garden into modern garden. Hereafter, more studies will be needed to Modern Garden Design be recognized as part of Korean Garden Design History and these would be author's next assignment.

• Journal of Korean Society of Forest Science
• /
• v.108 no.3
• /
• pp.440-453
• /
• 2019

This study was carried out to investigate the effect of watching a two-dimensional (2D) forest video and a virtual reality (VR) forest video on stress reduction in adults. Experiments were conducted in an artificial climate room, and 40 subjects participated. After inducing stress in the subjects, subjects watched a 2D gray video, 2D forest video, or VR forest video for 5 mins. The autonomic nervous system activity was evaluated continuously in terms of measured heart rate variability during the experiment. After each experiment, the subject's psychological state was evaluated using a questionnaire. The 2D forest video decreased the viewer's stress index, increased HF, and reduced heart rate compared with the 2D gray video. The VR forest video had a greater stress index reduction effect, LF/HF increase effect, and heart rate reduction effect than the 2D gray video. Psychological measurements showed that subjects felt more comfortable, natural, and calm when watching the 2D gray video, 2D forest video or VR forest video. We also found that the 2D forest video and VR forest video increased positive emotions and reduced negative emotions compared to the 2D gray video. Based on these results, it can be concluded that watching the 2D forest and VR forest videos reduces the stress index and heart rate compared with watching the 2D gray video. Thus, it is considered that the 2D forest video increases the activity of the parasympathetic nervous system, and the VR forest video increases the activity of the sympathetic nervous system. The increased activity of the sympathetic nervous system upon watching the VR forest video is judged to be positive sympathetic nerve activity, such as novelty and curiosity, and not negative sympathetic activity, such as stress and tension. The results of this study are expected to be the basis for examining the visual effects of forest healing, with hope that the utilization of VR, the technology of the fourth industrial revolution in the forestry field, will broaden.