• Journal of the Korean Institute of Landscape Architecture
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• v.44 no.6
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• pp.13-25
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• 2016

This study aims to analyze the change process in order to set the improvement strategies for the zoo in the Seoul Children's Grand Park. The zoo can be reviewed through three significant time periods with noticeable changes. As a framework to analyze the major changes that happened in the zoo, this study looks at the changes in terms of the planning aspect as well as the animal welfare and program operation aspect. The findings are as follows: first, the era of general theme park turned out to have focused on exhibiting animals to meet visitor demands by expanding the zoo area of the zoo without enlarging stockyards for the animals. Second, the environmental park era created a zoo having entertaining and educational functions by arranging animal houses with the concept of zoological taxonomy and introducing animal behavioral enrichment, animal welfare programs and visitor participatory programs. The era of the zoo as an Urban Cultural Park improved old animal houses and facilities for the welfare of the animals and increased educational programs to preserve species and provide environmental education. The current status of the zoo turns out not to meet the conditions for creating an ecological zoo, which is the overall goal for contemporary zoos. The improvement strategies based on the analysis through three different eras are three-fold. First, the zoo needs to improve the boundary conditions of the animals to showcase animal wildness through landscape immersion. Second, the zoo should provide a shared environment for animals from the same habitats by changing the classification methods from the existing polyphyletic taxon to a classification that considers ecological habitat. Third, the zoo needs to develop various ecological education programs by supplementing specialists in professional education.

• Journal of the Korean Institute of Landscape Architecture
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• v.40 no.6
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• pp.127-139
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• 2012

This study aims to figure out the main agent of management in the 69 recently constructed neighborhood parks in Busan, and to analyze the present status of the main agents. For this purpose, the work resources on park and landscape management, interview to related staff, and the budget on urban parks were found as the main agents of management. In case the parks were managed by consignment or by other separate organization, this study collected resources through the homepage or personal visits. As a result for the management method on parks, about 48 parks(69.6%) were under direct management by the local governments' main office and its business offices. Eighteen parks(26.1%) were commissioned to corporation or private organizations and three parks(4.3%) were operated by both direct and commissioned management. Because of the overall management result on urban parks, the company under outsourced management is not sufficient for a comprehensive management. Such is mainly focused on the maintenance like landscape or cleaning, but have fewer programs for the users. Forty-six parks cared by the local governments are mainly small sized neighborhood parks. For the management, contract workers or short-term workers are hired. It demonstrates an urgent need to improve professional personnel and organizational system for park management. In addition, any educational or cultural facility in the park is managed by separate institutions. Thus, it is not controlled as a park facility but an independent facility with separate controls. Moreover, to solve such problems, it needs legalization on the proper employment for parks, institutional improvement, cooperative network with NGO, planning and development of the program used according to the change of time, and customer oriented program management.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.1
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• pp.52-64
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• 2015

This research traced the characteristics of the semantic landscape, construction intent, landscape composition, and geomantic conditions of the area subject to the research based on the research methods of 'field investigation, document studies, and interviews,' centering around the entire area of Gokseong Hamheo-pavilion (Jeonnam Tangible Cultural Assets No. 160). The result of the research, specifically revealing the forms and methods by which the reciprocal view of nature and landscape composition appearing in the landscape of the entire area of Hamheo-pavilion, as part of the analysis and interpretation over the view-based construction characteristics and position of the entire area of Gokseong Hamheo-pavilion, can be summarized as follows. First, Hamheo-pavilion is a pavilion built as a resting area and as a venue for educational activities in 1543 in the nearby areas after Gwang-hyeon Sim founded Gunjichon-jeongsa for educational activities and dwelling purposes at Gunchon at the 30th year of King Jungjong. Gunchon, where Hamheo-pavilion and Gunjichon-jeongsa is located, exhibits the typical form having water in the front, facing Sunja-river(present Seomjin-river), and a mountain in the back side. Dongak-mountain, which is a guardian mountain, is in a snail-type form where cows leisurely ruminate and lie on the riverside, and the Hamheo-pavilion area is said to be an area bordering on one's way of enjoying peace and richness as it is a place with plentiful grass bushes available for cows to ruminate and lie down while sheppards may leisurely play their flutes at the riverside. The back hill of Hamheo-pavilion is a blood vessel that enters the water into the underwater palace of the turtle, and the building sitting on the turtle's back is Hamheo-pavilion, and the Guam-jodae(龜巖釣臺) and lava on the southern side below the cliff can be interpreted to be the underwater fairly land wanted by the turtle.6) Second, Hamheo-pavilion is the scenery viewpoint of Sungang-Cheongpung (3rd Scenery) and Seolsan-Nakjo(雪山落照, 9th Scenery) among the eight sceneries of Gokseong, while also the scenery viewpoint of Hamheo-Sunja(2nd Scenery) and Cheonma-Gwiam(天馬歸岩, 3rd Scenery) among the eight sceneries of Ipmyeon. On the other hand, the pavilion is reproduced through the aesthetics of bends through sensible penetration and transcendental landscape viewed based on the Confucian-topos and ethics as the four bends among the five bends of Sunja-river arranged in the 'Santaegeuk(山太極) and Sutaeguek(水太極, formation of the yin-yang symbol by the mountain and water)' form, which is alike the connection of yin and yang. In particular, when based on the description over Mujinjeong (3rd Bend), Hoyeonjeong(4th Bend), andHapgangjeong(2nd Bend) among the five bends of Sunja-river in the records of Bibyeonsainbangan-jido(duringthe 18th century) and Okgwahyeonji(1788), the scenery of the five bends of Sunja-river allow to glimpse into its reputation as an attraction-type connected scenery in the latter period of the Joseon era, instead of only being perceived of its place identity embracing the fairyland world by crossing in and out of the world of this world and nirvana. Third, Hamheo-pavilion, which exhibits exquisite aesthetics of vacancy, is where the 'forest landscape composed of old big trees such as oak trees, oriental oak trees, and pine trees,' 'rock landscape such as Guam-jodae, lava, and layered rocks' and 'cultural landscape of Gunchon village' is spread close by. In the middle, it has a mountain scenery composed of Sunja-river, Masan-peak, and Gori-peak, and it is a place where the scenery by Gori-peak, Masan-peak, Mudeung-mountain, and Seol-mountain is spread and open in $180^{\circ}$ from the east to west. Mangseo-jae, the sarangchae (men's room)of Gunjichon-jeongsa, means a 'house observing Seoseok-mountain,' which has realized the diverse view-oriented intent, such as by allowing to look up Seol-mountain or Mudeung-mountain, which are back mountains behind the front mountain, through landscape configuration. Fourth, the private home, place for educational activities, pavilion, memorial room, and graveyard of Gunji-village, where the existence and ideal is connected, is a semantic connected scenery relating to the life cycle of the gentry linking 'formation - abundance - transcendence - regression.' In particular, based on the fact that the descriptions over reciprocal views of nature regarding an easy and comfortable life and appreciations for a picturesque scene of the areas nearby Sunja-river composes most of the poetic phrases relating to Hamheo-pavilion, it can be known that Hamheo-pavilion is expressed as the key to the idea of 'understanding how to be satisfied while maintaining one's positon with a comfortable mind' and 'returning to nature,' while also being expressed of its pedantic character as a place for reclusion for training one's mind and training others through metaphysical semantic scenery.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.34 no.3
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• pp.50-66
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• 2016

This study attempts to understand and explain how "Directed Attention Restorative Environment (DARE)" is managed and fostered in "Gang-Hak (講學)" and "Yu-Sik (遊息)" spaces both inside and outside of Oksan Seowon Confucian Academy, Gyeongju. Directed Attention is a pivotal element in human information processing so that its restoration is crucial for effective thinking and learning. According to Kaplan & Kaplan's Attention Restoration Theory, an environment, in order to be restorative, should have four elements: 'Being Away,' 'Extent,' 'Fascination,' and 'Compatibility.' We could confirm OkSan Seowon Confucian Academy has an inner logic that integrates two basically different spacial concepts of "Jangsu" and "Yusik" and thus fosters the Attention Restorative Environment. Particularly, the Four Mountains and Five Platforms (四山五臺) surrounding the premises provides an excellent learning environment, and is in itself educational in terms of the Neo-Confucian epistemology with "Attaining Knowledge by way of Positioning Things (格物致知)" as its principle precept, and of its aesthetics with "Connectedness with Nature" as its central tenet. This study attempts to recapture the value of Korea's cultural heritage concerning the Human/Nature relationship; and it may provide useful insights and practical guidelines/grounds in designing today's schools and campuses, where the young people's needs for the Directed Attention- and Attention Restorative- Servicescapes seem to be greater than ever.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.1
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• pp.90-104
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• 2011

This study identified the scenic characteristics in Gugok and symbolism reflected in titles of the scenery of the season in Gugok from a perspective of Sundoism concentrated on Galeun Gugok in Goisan which is influenced most greatly by Sundoism hermit ideas in Korea, along with Seonyudong-Gugok. In addition, it suggested a measure for arrangement and narrative Storyboard of Galeun Gugok structure corresponding with promotion and propagation of Gugok cultural scenes and educational goals. According to analysis and interpretation of the various Gugoks forming Galeun Gugok in terms of their titles, names engraved in surrounding elements and the coherent symbolic meanings of its scenery and place through comparison with secenery of near Seonyudong-Gugok, the result shows that Galeun Gugok comprises wishes for eternal life in the forms of Taoist hermit-related scenery of the season within the range of stream and old stories based on environmental affordance. In figurative way, it ultimately presents the Wonyung(圓融) idea which seeks a harmonious combination of God and humankind. In particular, consciousness of longevity without problems is deeply inherent in the background of eternalness of plants, divinity of animals and natural homeostasis. Also, 9 Gok Seongukam set up at visual terminal reflect noticeably that a game Go is the amusement of the immortals, which describe 9 ranks of GO figuratively. Galeun Gugok is formed in a unity structure, which is hermit-oriented Sundoism and motif, such as longevity and immortality, divinity and enjoyment of Sundoism hermit rather than used as a method to achieve taste for the arts or ethics. Given the fact, it presents eternal longevity and atmosphere of seclusion in very strong way. Development of spatial Storyboard structure based on this is interpreted as 'Entering the world of hermits(Introduction)'-'Looking the world(Development)'-'Living with hermits(Turn)'-'Becoming hermit(Conclusion).' Finally, the scenery image of Galeun Gugok presented in surface structure is based on beauty of the immortal land scenery as well as beauty of pre-achieved space in Gugokdongcheon and arranged the vertical narrative structure as divine space of 9 ranks of GO. Taking those into account, scenery story board of Galeun Gugok was suggested in accordance with a theme of 6 cuts; Gnagsun(降仙)-Sungyeong(仙境)- Sunyak(仙藥)-Sunhak(仙鶴)-Sunyu(仙遊)-Eunsun(隱仙). It is obvious that hermit which live an eternal life as a representative of Sundoism, should be the main motif of scenery planning in a filed of modem landscaping. Therefore, the most valuable component in designing Korean landscape must be the homeostasis of surrounding landscape which supports the characteristics of invariability and divinity of nature.

• Korea Science and Art Forum
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• v.27
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• pp.277-288
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• 2017

The number of science museums in Korea has expanded quantitatively from 72 in 2008 to 128 in 2016. This study started with the fact that the government puts a lot of budget into building a science museum, but there are more than one quarter of science museums with less than 50 spectators per day and many inefficient institutions. The number of visitors is an important factor in improving the efficiency of the science museum operation. The purpose of this study is to analyze the relation between the service quality of the science museum and the customer satisfaction and the intention to revisit and to find out what kind of effort should be concentrated in the science museum to attract more visitors. Questionnaires were written in the exhibition, education, and culture fields of the Gwacheon National Science Museum. The results were derived by frequency analysis, reliability analysis, factor analysis, and multiple regression analysis. The results and contents of the study are as follows. First, in the field of exhibition, the quality of exhibition facilities was expected to affect customer satisfaction and intention to return, but did not have a meaningful relationship. Second, the education sector has been found to affect customer satisfaction and return intention in all aspects of service quality (operation and contents, instructors, educational facilities and environment). Third, in the field of culture (event), the quality of the cultural program influences the visitor satisfaction, but it does not affect the intention to revisit. The science museum can provide satisfaction to visitors by combining activities such as science and arts. Despite the limitations, it is necessary to make efforts to improve the visitor satisfaction and revisit by proceeding with the convergence research on the entire National Science Museum in the future.