• Journal of architectural history
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• v.21 no.2
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• pp.37-52
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• 2012

This research has set up the fire fighting general index for Fire fighting of Crowded Wooden Building Cultural Asset which is composed of traditional wooden building instinct or complex. The results of this study are as follows. First, Fire fighting general index for crowded wooden building cultural asset, it is necessary to set fire fighting priority by considering fire risk and cultural asset characteristic and establish the system to cope with fire disaster in the most effective way by arranging facilities with restricted resource. Second, Fire risk is the index to draw fire and spread risk of cultural asset by applying index calculation processes such as fire load, burning velocity and ignition material spread characteristic to various aspects such as individual building and complex and combining their results. Cultural asset importance index consists of individual building evaluation, publicity security degree, area importance evaluation and historical landscape degree evaluation. Third, for each index combination process, weight of each index is drawn on the basis of AHP analysis result that is performed to the specialists of related fields. The formula to apply and combine it is prepared to apply the model to include meaning of each index and comparative importance degree.

• Proceedings of the Korea Institute of Fire Science and Engineering Conference
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• 2013.04a
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• pp.140-141
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• 2013

2008년 2월 10일 방화로 소실된 숭례문 문루의 복구 작업이 2013년 4월에 완료되었다. 숭례문하면 화재가 먼저 생각날 정도지만 이와 관련해서 다시 한 번 고찰해야 할 것이 남지(南池)이다. 현재 남지는 그 터였음을 알리는 표지석만 남아 있지만 소방문화사적으로 소중한 의미를 갖고 있다. 본 연구를 통해 남지가 갖고 있는 소방문화사적 가치와 의미를 재조명하고 현대적으로 계승해야 함을 강조하고자 한다.

• Proceedings of the Safety Management and Science Conference
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• 2013.04a
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• pp.485-500
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• 2013

Cultural assets of the country's history and cherish the living conditions of the people, conscious and cohesive crystals, and the pride of the hearts of the people as a haven. In the country worth preserving national treasure, bomulgeup, local cultural heritage as a major cultural property protection are. Cultural properties, etc. Most are wooden, is vulnerable to fire, and, moreover battling to far away from the city and due to the geographical conditions are very challenging aspects. The national cultural assets, such as the many temples, vows to fire one if the loss of a centuries-old cultural property is a big loss of national posterity to great shame is not. Still cultural assets and a large number of visitors have flocked temples. All of us to keep the look and feel of the cultural assets pleasure to conserve cultural assets preserved to ensure that fire prevention is always unmistakably bear in mind that sees.

• Journal of the Korean Professional Engineers Association
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• v.32 no.6
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• pp.148-157
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• 1999

As cultural Heritages are source of the national history and a life transition, their extinction is a fatal shock as result of cutoff the genealogy of the creative national spirit. So, we have necessarily to protect them, and to get the duty and the responsibility which the cultural inheritance hands over tnem to descendants with preserving and meaning safely at present time. In these days, the risk of fire in the Cultural Heritages building is increased because of rash changing environments from the indiscreet development of them. Accordingly, in order to get the original transmission of the Cultural Heritages, this paper involves being intensive the fire safety information of the Cultural Heritage in kyonggi-do province, analyzing their diagnoses, and studying a Fire Safety Prevention Management model to protect and to maintain them continuously. Therefore, it is to contribute from this approach to collecting fire safety information, analyzing diagnostic problems in fire accidents, and to manage the prevention method for protecting and maintaining the Cultural Heritages.

• Journal of architectural history
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• v.19 no.1
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• pp.71-90
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• 2010

This research has set up the fire protection and early suppression plan for Asan Oeam folk village which is composed of traditional wooden building instinct or complex. The results of this study are as follows. 1. The traditional wooden buildings require attentive considerations about the fire property of the Waga and the straw roofed house. Especially, as the straw roofed house has property that the transfer and development of the fire is fast. Therefore we studied on the transferring possibilities of the fire dangerous instinct through measuring the distance from of the eaves edge and trees in neighboring house. 2. This research proposes the tools for the priority protective building through consideration of fire risk and cultural priority because the fire prevention for all is impossible at the same time. 3. The most important thing is preserve the cultural identities of traditional folk village in establishing the fire hydrant and fire prevention facilities. Traditional folk village landscape should be considered.

• Journal of the Korean housing association
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• v.15 no.6
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• pp.107-113
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• 2004

Fire was and remains a great threat to historic buildings of wood. This threat is omnipresent and often results to irreparable property losses especially cultural heritages. Fire of historic buildings continues to increase every year. The purpose of this study is to preserve a life safety, historical heritage and architectural & cultural values by pursuing for fire safety in the historical buildings. This study shall employ two research methods: a literature review and field survey methods. The literature review shall focus on the observations of characteristics noted in fire codes. The field survey shall cover a heat analysis and fire protection equipment. A method is proposed to investigate fire codes related historical building, reported fire history Fire Codes and Regulations for modern buildings are not always applicable on the historic buildings. Old buildings, and some new buildings with architectural, historical or cultural importance may have values which cannot be measured on a monetary scale. Their protection against the damage caused by fire is considered to be one of the basic moral duties of society. It is strongly recommended, therefore, legislation for fire safety in historical buildings must be extended to a complementary relationship with 'active' fire protection measures, to provide safety in real historical building in real fire situations. The development and application of performance based Codes and the Fire Safety Engineering approach seems to be a rather reasonable and effective way to deal with this historical buildings.

• Journal of Internet of Things and Convergence
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• v.7 no.4
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• pp.15-21
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• 2021

This study aims to derive the problems of firefighting and safety measures for architectural heritage with a wooden structure in rural areas and present their improvement measures. To identify those problems, this study grasped the features of the cultural heritage through the building structure and environment of a wooden Catholic secondary station in Dangjin, and analyzed fires that may occur and safety factors. As a result, although the mission station is an important cultural property in terms of its history, place and local identity, it had problems with disaster prevention systems such as vulnerable safety including fire and difficulties in fire recognition and initial firefighting. Therefore, this study concluded through its review and analysis that a disaster prevention system such as stronger firefighting is needed; that fire fighting facilities suitable for the characteristics of the secondary station with a wooden structure should be installed and a main player should be arranged in fire prevention activities to improve the fire prevention system of the cultural property; and that as most mission stations are located in rural areas, it is necessary to more thoroughly protect wooden-structure secondary stations from natural disasters such as forest fire and to improve fire response measures.

• Journal of architectural history
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• v.24 no.4
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• pp.7-18
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• 2015

Gwanghwamun was dismantled and displaced to the east side of the palace, at that time, the Chosun Government General Building was constructed in the Gyeongbokgung palace. After the Korea war, it remained as a stonework as a result of the fire. In 1968, The Gwanghwamun came back in front of the palace. Then, why it was rebuilt in the 3rd Republic period? What was the reason for selecting concrete? Since the May 16 coup, the military regime had been utilized palace and surrounding urban space to show a visible practice of modernization. Attempting the combination of modern technology in the 1960s and traditional cultural property and reconstructing a city as a pretext called Cultural Heritage conservation was a typical mechanism of the 1960s. In this study, I start by assume that reconstructing Gwanghwamun(1968) was a part of project to change the surrounding urban space of Gwanghwamun than to preserve cultural assets. Two main contributions of the study are following. First, I collect availabe data on the reconstructing surrounding urban space of the Gwanghwamun and re-organize them in chronological order to make them as fragments of a map. Second, I analysis and identify the nature and phase of the Gwanghwamun reconstruction.

• Proceedings of the Korean Quaternary Association Conference
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• 2002.12a
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• pp.94-95
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• 2002

South Korea is divided into five ecoprovinces and sixteen ecoregions. The criteria for ecoprovince classification are ecosystem connectivity and cultural homogeneity. Ecoregions are classified by cluster analysis. The variables used in the analysis are latitude, longitude, seasonal mean temperature, and seasonal precipitation. The large forest fires occurred in the specific ecoregions including Kangwon coastal ecoregion, WoolYoung coastal ecoregion, Hyungsan Taehwa coastal ecoregion, Upper Nagdong river basin ecoregion and Southeastern inland ecoregion. The largest forest fire in the korean history occurred in Kangwon coastal ecoregion in the year 2000. The fire devastated the forestland over 25,000ha. Korea Forest Service, Ministry of Environment, Province Kangwon and NGO organized an investigation committee for the restoration of the burnt area. The committee suggested restoration principles and also forged a restoration strategy of the Kangwon burnt area.

• Journal of Korean Theatre Studies Association
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• no.40
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• pp.207-237
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• 2010

Concentrating on the birth, life, and death of the Living Theatre, almost half a century avant-garde group, the primary purpose of this study at large is to explore its counter-cultural philosophy. While taking a chronological form adapting the biological order, the paper focuses on the troupe's productions: , , , , and . Through out these productions the philosophy of the Living Theatre seemed to included communal, anti-intellectual, politically radical, generally Utopian, and proselytizers for sexual freedom. The history of the Living Theatre interestingly parallels the history of the Beck's theatre in occupation and shut down. The first New York theatre was closed by fire inspectors for instance. The second theatre was declared unsafe, and locked up by the Building Department. The third theatre was seized by the IRS, consequently shut down. In 1984, after more than 25years from the third building, the Living Theatre settled once again on East Third Street in Manhattan. The theatre was however evacuated by the New York City Fire Department in 1993 and once more took to the road. With these struggles, the Becks' profound aspiration of the counter-cultural insurgency came to harden as strong as 'iron' in some ways. With the outstanding components of counter-cultural philosophy and style, the Living Theatre, in the course of the transformation, absorbed and then reflected virtually every phase for the Living Theatre were vehicles for more than just aesthetics. The group seemed to propagandize its beliefs rather performing productions. Accordingly, both on and off-stage action of the Living Theatre caused great controversy either through political activism of individual members or through the unconventional collective life style. No avant-garde theatre company was more emblematic of the rebellious spirit of the sixties than the Living Theatre. Like the first great transformation, the Becks' encounter, their personal values and the form of theatre they created had blended 'so inextricably that the vitality of each was dependent on the other.' The Becks always urged unity and harmony at all levels of human life, but not at any price. The anticapitalist ideal inspired the Becks to promote a politically motivated campaign throughout their productions. They believed the revolution is desirable but in the state of non-violence and the expansion of human consciousness. Julian Beck's gravestone identifies his as pet, painter, actor, and anarchist. The Living Theatre was a 'small umbrella' under which the Becks and its members could breath and unfold their dream on stage or in the street.