• Journal of the Korean Institute of Landscape Architecture
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• v.38 no.2
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• pp.94-108
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• 2010

The purpose of this study is to provide data for the restoration of 'Yongyun(龍淵)' and 'Hwahongmun(華虹門)' through an investigation of the vicinity of their original landscapes at the time of construction of Hwaseong in Suwon and through tracing the transformative process of the environments of this vicinity. The results are as follows; As identified by 'Yongyunjung(龍淵亭)' and 'Yongdugak(龍頭閣)', other names of Yongyun, 'Banghwasuryujung(訪花隨柳亭)', which was built on 'Yongduam', is a facility whose place identity is highlighted with a sense of unity with Yongyun. The south lakefront of Yongyun, bordering Banghwasuryujung, has boundaries that make the best use of the natural geographical features of Yongduam while the current circumference of Yongyun is comparatively shorter than its original state. The size of 'Joongdo(中島)', however, seems to be an example of apparent over-design complement and reorganize 'Joongdo', which had been restored larger than its original state at the time of restoration in the 1970s. The depth of 'Yongyun' was created to be lower than the actual depth, without consideration for its initial depth, as soil was accumulated through continuous flooding after it was created. It is assumed that the original drains which were installed about 10m inside the lake were created facing the stream. As regards the planting environment, a circular planting of willows was made in the outskirts of 'Yongyun', except the 'Yongduam' which is a pure forest, and a mix of 'Pinus densiflora', shrubbery and deciduous broad leaf trees was planted in 'Joongdo'. Of the plants growing in the area of this study, plant species introduced to Korea after Hwaseong was constructed are found, most of which provide interest and attraction. The old pine trees growing in a group once grew in the castle areas of the vicinity even in the 1920s, the period of Japanese occupation, but they disappeared from the area in the aftermath of subsequent urban development and the Korean War. Although restored to the site, the number and space taken up by these trees are insignificant compared to those of the original environment. On the basis of these results, the following is considered necessary for the true restoration of the vicinity of 'Yongyun' and 'Hwahongmun': First, the grounds of 'Yongyun' should be dredged deeply enough to expose the bedrock and should be recreated in the rough outline of a half moon by extension to the southwest toward 'Yongduam' and 'Hwahongmun', and the size of 'Joongdo' should be significantly reduced. Secondly, considering that most plant species, except the pine trees and wild trees in 'Yongduam', are non-native plants introduced in order to provide such attractions such as the appreciation of scenic areas, they should be replaced with native species, mainly with the pine trees which were utilized during the construction of Hwaseong. The weeping willows planted in the 'middle-island' should be relocated to the outskirts of 'Yongyun', and replaced with pine trees as the major trees and maple trees or deciduous broadleaf trees to fill in the gaps. Thirdly, exotic species such as the 'Pinus rigida' planted in a group around 'Banghwasuryujung' and 'Bugammun' and 'Pinus strobus' planted in the vicinity of Hwahongmun' should be removed.

• Journal of the Korean Society of Environmental Restoration Technology
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• v.18 no.1
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• pp.1-12
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• 2015

Beginning of the human ecology in 1920s, the efforts for applying the environmental values to a policy have been embodied by the enactments of international agreement and relevant laws. The government has been struggling to adopt the environmental values for the policy by enacting the relevant laws and establishing the environmental value evaluation information (environmental conservation value assessment map, eco-natural map, biotope map). In spite of the efforts to apply the environmental value assessment information for the habitat potential of wildlife, the application is being challenged by the discrepancy in methods and criteria. Thus this study intends to measure the potential of wildlife habitat and apply it to the spatial value classification for the application plan of wildlife habitat potential in policy. Maxent was used for the habitat potential and the land types were classified depending on the surface and land use pattern of cadastral map. As a result, the policy matrix including conservation strategy(CS), restoration strategy(RS), practical use strategy(PS) and development strategy(DS) has been deduced as CS $13.05km^2$(2.38%), RS $1.64km^2$(0.30%), PS $162.42km^2$(29.57%) and DS $8.56km^2$(1.56%). CS was emerged mostly on forest valleys and farmlands, and RS was appeared in the road area near the conservation strategy areas. Boryung downtown and Daecheon Beach were the center of DS, while the forest and farmlands were presented as PS. It is significant that this study suggest the new approaching method by comparing the wildlife habitat potential with the land type. Since this study evaluated the environmental value by one species of leopard cat (Prionailurusbengalensis) with Maxent model, it is necessary to apply the habitat potential measuring method for various target species as further research.

• Proceedings of the Korean Society of Precision Engineering Conference
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• 2005.06a
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• pp.1918-1920
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• 2005

The color and structure of urban constructions is a factor of urban landscape and shows their characteristics. Hence the modern buildings with their materials and external appearance makes up the urban image. But still yet, it was not easy to evaluate the value of visual landscape of buildings with objective measuring method. Most of all, it depends on the subjective estimation of a few talented or high educated experts with a sense of beauty. In relation to this kind of problems, it was tried here in this study to analyse the human response of brain wave pattern (EEG) with use of SD method, while the tested persons watched the urban landscape constructed in a visual reality. The tested persons were 10 adult males and females with no color blindness and intact cognitive function. Light source with color filter was used for color environment in chamber room. The signal of EEG is analysed digitally and grouped into the $\alpha$ and $\beta$ waves. The result showed that relative power of $\alpha$ wave ratio increased in natural landscape scenary clearly. From these results it was possible to evaluate the human response, which was affected by urban color and structure stimulation and it might be useful as an indicator of visual cognition amenity toward the design of urban construction environment.

• Korean Journal of Heritage: History & Science
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• v.51 no.3
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• pp.72-87
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• 2018

This study highlights a drainage gate and a ditch, which existed around the whole area of the western shore of Wolji Pond(月池) and focuses on a possible connection between the drainage facility on the western shore and the historical drainage system of Wolji Pond. Specifically, it primarily considered locations and the form of a drainage gate, the relationship between northwestern ditch of Wolji Pond and the drainage gate, and the establishment period and the character of the drainage facility on the western shore. The drainage gate found in excavation in 1975 is determined as the same facility as Surakgu(水落口) recorded on an actual measurement drawing, 1922. Therefore, it is highly probable that there were already the drainage facility in the western shore of Wolji Pond before the 1920s. The drainage gate constructed by processing rectangular stones has four drainage holes for controlling water level. The way of the drainage through the drainage holes is the same as that of the northern shore of Wolji Pond. From a cadastral map drawn in 1913, it is found that the ditch existed in northwest of Wolji Pond. The ditch was proximate to the drainage gate and shared the same axes. Hence, the ditch and the drainage gate are determined as a organic facility connected to the drainage system of Wolji Pond. In particular, the ditch existed in northwest of Wolji Pond is the basis for judging that the drainage facility in the western shore were established before the 1910s. Water flowed in through drainage holes of the drainage gate is drained into the northwest of Wolji Pond, through the ditch. The establishment period and the intention of the drainage facility on the western shore can be interpreted in two aspects. First, they might be 'a agricultural irrigation facility in the Joseon era', given that Wolji Pond was recorded as a agricultural reservoir, and that the whole northwestern area of Wolji Pond was used as farm land areas. Second, they might be 'a drainage facility for controlling the water level in creating Wolji Pond', given that the drainage gate was annexed to the lower shore forming the waterline of Wolji Pond, and that the hight of drainage holes on top of the drainage gate was similar to the full water level of Wolji Pond. Considering the related grounds and circumstance, the latter possibility is high.

• Trans-
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• v.3
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• pp.55-86
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• 2017

This study begins with the necessity of the concept of reincarnation of film media and the inclusion of specific tendencies of contemporary films as post - cinema comes. Variable movements around recent films Challenging and experimental films show aesthetics that are difficult to approach with the analysis of classical mise en scene and montage. In this way, I review the dispositif proposed by Martin in films that are puzzling to criticize with the classical conceptual framework. This is because the concept of dispositive is a conceptual pile that extends more than a mise en scene and a montage. Dispositif films tend to be non-reproducible and non-narrative, but not all non-narrativef tendencies are dispositif films. Only the dispositif film is included in the flow. Dispositif movement has increased dramatically in the modern environment on which digital technology is based, but it is not a tendency to be found in any particular age. The movement has been detected in classical films, and the dispositif tendency has continued to exist in avant-garde films in the 1920s and some modernist films. First, for clear conceptualization of cinematic dispositif, this study examines the sources of dispositif debates that are being introduced into film theory today. In this process, the theory of Jean Louis Baudry, Michel Foucault, Agamben, Flusser, and Deleuze will help. The concept of dispositif was discussed by several scholars, including Baudry and Foucault, and today the notion of dispositif is defined across all these definitions. However, these various discussions are distinctly different from the cinematic dispositif or dispositif films that Martin advocates. Martin's proposed concept reminds us of the fundamentals of cinematic aesthetics that have distinguished between the mise-en-scene and the montage. And it will be able to reconsider those concepts and make it possible to view a thing a new light or create new films. The basic implications of dispositif are apparatus as devices, disposition and arrangement, the combination of heterogeneity. Thus, if you define a dispositif film in a word, it is a new 'constraint' consisting of rearrangement and arrangement of the heterogeneous elements that make up the conditions of the classical film. In order for something to become a new design, changes must be made in the arrangement and arrangement of the elements, forces, and forces that make up it. Naturally, the elements encompass both internal and external factors. These dispositif films have a variety of possibilities, such as reflection on the archival possibilities and the role of supervision, the reestablishment of active and creative audience, the reason for the film medium, and the ideological reflection. films can also 'network' quickly and easily with other media faster than any medium and create a new 'devised' aesthetic style. And the dispositif film that makes use of this will be a key keyword in reading the films that present the new trend of modern film. Because dispositif are so comprehensive and have a broad implication, there are certainly areas that are difficult to sophisticate. However this will have a positive effect on the future activation of dispositif studies end for end. Dispositif is difficult to elaborate the concept clearly, so it can be accessed from a wide range of dimensions and has theoretically infinite extensibility. At the beginning and end of the 21st century film, the concept of cinematic dispositif will become a decisive factor to dismantle old film aesthetics.

• Journal of the Korean Society of Clothing and Textiles
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• v.28 no.8
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• pp.1076-1087
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• 2004

The purpose of the study is to give new aesthetic values of black dress one of the important items in contemporary women＇s fashion. Through the work, to give the new aesthetic characteristics that women really needed can be found. This study was processed by fashion books and articles, literal material with fashion photos which were related fashion trend from 1920 to the present. The results are as follows: In early 20th century, the black dress, which had simple form pursuing function like little black dress. In the middle of the 20th century, elegance and minimalism was represented by black dress, expressed erotic images together with see-through fabrics. In the end of the 20th century, body conscious style of black dress expressed sensual images of women. Modem black dress has design characteristics of the form: simple, close, exposure type and of the materials: matte, transparent and dazzling etc. Simple type emphasizes feminine elegance, while close type and exposure type disclose woman body curve to express erotic images. Matte materials made black dress express feminine elegance while transparent materials and dazzling materials made black dress express erotic and sensual beauty. The aesthetic characteristics of black dress were as followings: Sensualism expresses sexual attractiveness of women-close type and exposure type black dress and see-through materials and dazzling materials made black dress. Simplicity of extreme decoration effects are expressed through black dress having temperate and simple form. Femineity expresses traditional femineity to emphasize chaste, modest and elegant women images-the black dress, which is made of simple form, velvet and satin materials. Modernism combines black colour, which is called modem colour, with simplicity and function factors and pursues simple form. Ascetic practice controls mental and physical desire of the individuals, simple form without decoration covering up woman body and box type silhouette of black dress. Therefore, the study on image of the black dress, which have made appearance at modern fashion, is thought to help develop fashion trends and design, through which modern women express themselves and their beauty.

• Computers and Concrete
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• v.8 no.6
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• pp.647-675
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• 2011

Our ability to predict hydration behavior is becoming increasingly relevant to the concrete community as modelers begin to link material performance to the dynamics of material properties and chemistry. At early ages, the properties of concrete are changing rapidly due to chemical transformations that affect mechanical, thermal and transport responses of the composite. At later ages, the resulting, nano-, micro-, meso- and macroscopic structure generated by hydration will control the life-cycle performance of the material in the field. Ultimately, creep, shrinkage, chemical and physical durability, and all manner of mechanical response are linked to hydration. As a way to enable the modeling community to better understand hydration, a review of hydration models is presented offering insights into their mathematical origins and relationships one-to-the-other. The quest for a universal model begins in the 1920's and continues to the present, and is marked by a number of critical milestones. Unfortunately, the origins and physical interpretation of many of the most commonly used models have been lost in their overuse and the trail of citations that vaguely lead to the original manuscripts. To help restore some organization, models were sorted into four categories based primarily on their mathematical and theoretical basis: (1) mass continuity-based, (2) nucleation-based, (3) particle ensembles, and (4) complex multi-physical and simulation environments. This review provides a concise catalogue of models and in most cases enough detail to derive their mathematical form. Furthermore, classes of models are unified by linking them to their theoretical origins, thereby making their derivations and physical interpretations more transparent. Models are also used to fit experimental data so that their characteristics and ability to predict hydration calorimetry curves can be compared. A sort of evolutionary tree showing the progression of models is given along with some insights into the nature of future work yet needed to develop the next generation of cement hydration models.

• Journal of Broadcast Engineering
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• v.15 no.4
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• pp.563-581
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• 2010

In this paper, we perform subjective visual quality assessments on UHD video for UHD TV services and analyze the assessment results. Demands for video services have been increased with availabilities of DTV, Internet and personal media equipments. With this trend, the demands for high definition video have also been increasing. Currently, 2K-HD ($1920{\times}1080$) video have been widely consumed over DTV, DVD, digital camcoders, security cameras and other multimedia terminals in various types, and recently digital cinema contents of 4K-UHD($3840{\times}2160$) have been popularly produced and the cameras, beam projects, display panels that support for 4K-UHD video start to come out into multimedia markets. Also it is expected that 4K-UHD service will appear soon in broadcasting and telecommunications environments. Therefore, in this paper, subjective assessments of visual quality on resolutions, color formats, frame rates and compression rates have been carried to provide basis information for standardization of signal specification of UHD video and viewing environments for future UHDTV. As the analysis on the assessments, UHD video exhibits better subjective visual quality than HD by the evaluators. Also, the 4K-UHD test sequences in YUV444 shows better subjective visual quality than the 4K-UHD test sequences in YUV422 and YUV420, but there is little perceptual difference on 4K-UHD test sequences between YUV422 and YUV420 formats. For the comparison between different frame rates, 4K-UHD test sequences of 60fps gives better subjective visual quality than those of 30fps. For bit-depth comparison, HD test sequences in 10-bit depth were little differentiated from those in 8-bit depth in subject visual quality assessment. Lastly, the larger the PSNR values of the reconstructed 4K-UHD test sequences are, the higher the subjective visual quality is. Against the viewing distances, the differences among encoded 4K-UHD test sequences were less distinguished in longer distances from the display.

• The Journal of Fisheries Business Administration
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• v.35 no.1
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• pp.133-168
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• 2004

The purpose of this study is to examine the state and characteristic of seafood marketing in Korean West Coast during the colonial period ruled by Japan. To accomplish the purpose, we tried to set the fisheries statistical database by reviewing of $\boxDr$Statistical Annual Report of Chosun Chongdokbu$\boxUl$ and $\boxDr$Official Report of Chosun Chongdokbu$\boxUl$. A trend analysis was carried out with the data. Also, by reviewing of articles related to the state of seafood marketing via $\boxDr$Daehan Maeil Newspaper$\boxUl$, $\boxDr$Maeil Newspaper$\boxUl$ issued at the period, we could find out some meaningful findings which backed up the statistics in realistic facts. For numbers of businessman in seafood marketing, it was clear that the number of Japanese businessmen increased more quickly than that of Korean compared with other sphere of fisheries. That means Japanese grasped Korean seafood market in a short time. In price of seafood in terms of cities, Kunsan was comparatively higher than Incheon and Mokpo. In price of seafood in terms of species, ‘Snapper’ was mostexpensive, and ‘Mackerel Pike’, ‘Anchovy’, ‘Mullet’, ‘Eel’, ‘Flatfish’ followed in that order. In price of a species in terms of ‘Yellow Croaker’, which was famous in West Sea, ‘Croaker with salt’ was more expensive than dried and fresh one. For the transition trend of number of fish market, we could ascertain that the number of market increased until 1919, however, it decreased slowly from 1932. That means Japanese government went to war against China from 1931. Of the West Coast, the number of fish market in Chungnam province was most high, but that of Chonbuk outrun from 1940. At that time, the number of fish market in West Coast reached to 34% out of that of whole country. In 1919, the proportion of seafood sales amount of West Coast neighboring provinces, such as Kyunggido, Chungnam, and Chonbuk, was 23% of whole country which rose to 28% in 1929, and 29% in 1939. Therefore, we could assure that seafood marketing was very active at that time in the region. When we consider the trend of seafood export at the main ports of West Coast, in 1910's, the export through Mokpo and Inchon port was very live but that of Kunsan was very tiny. However, in 1920's, the export amount of Inchon port did not much change, but that of Mokpo decreased, whereas, that of Kunsan increased. In the early and middle of 1910' s which was around beginning of Japanese ruling period, we realized that the imperialist Japan was very eager in political efforts to enhance the mind of seafood's quality improvement through the opening of several fisheries competitive shows and fairs.

• Korean Journal of Heritage: History & Science
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• v.51 no.4
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• pp.4-23
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• 2018

Seo Byeong-o (徐丙五, 1862-1936) played a central role in the formation of the Daegu artistic community-which advocated artistic styles combining poetry, calligraphy and painting-during the Japanese colonial period, when the introduction of the Western concept of 'art' led to the adoption of Japanese and Western styles of painting in Korea. Seo first entered the world of calligraphy and painting after meeting Lee Ha-eung (李昰應, 1820-1898) in 1879, but his career as a scholar-artist only began in earnest after Korea was annexed by Japan in 1910. Seo's oeuvre can be broadly divided into three periods. In his initial period of learning, from 1879 to 1897, his artistic activity was largely confined to copying works from Chinese painting albums and painting works in the "Four Gentlemen" genre, influenced by the work of Lee Ha-eung, in his spare time. This may have been because Seo's principal aim at this time was to further his career as a government official. His subsequent period of development, which lasted from 1898 until 1920, saw him play a leading social role in such areas as the patriotic enlightenment movement until 1910, after which he reoriented his life to become a scholar-artist. During this period, Seo explored new styles based on the orchid paintings of Min Yeong-ik (閔泳翊, 1860-1914), whom he met during his second trip to Shanghai, and on the bamboo paintings of Chinese artist Pu Hua (蒲華, 1830-1911). At the same time, he painted in various genres including landscapes, flowers, and gimyeong jeolji (器皿折枝; still life with vessels and flowers). In his final mature period, from 1921 to 1936, Seo divided his time between Daegu and Seoul, becoming a highly active calligrapher and painter in Korea's modern art community. By this time his unique personal style, characterized by broad brush strokes and the use of abundant ink in orchid and bamboo paintings, was fully formed. Records on, and extant works from, Seo's early period are particularly rare, thus confining knowledge of his artistic activities and painting style largely to the realm of speculation. In this respect, eleven recently revealed nanjukseok (蘭竹石圖; orchid, bamboo and rock) paintings, produced by Seo in 1889, provide important clues about the origins and standards of his early-period painting style. This study uses a comparative analysis to confirm that Seo's orchid paintings show the influence of the early gunran (群蘭圖; orchid) and seongnan (石蘭圖; rock and orchid) paintings produced by Lee Ha-eung before his arrest by Qing troops in July 1882. Seo's bamboo paintings appear to show both that he adopted the style of Zheng Xie (鄭燮, 1693-1765) of the Yangzhou School (揚州畵派), a style widely known in Seoul from the late eighteenth century onward, and of Heo Ryeon (許鍊, 1809-1892), a student of Joseon artist Kim Jeong-hui (金正喜,1786-1856), and that he attempted to apply a modified version of Lee Ha-eung's seongnan painting technique. It was not possible to find other works by Seo evincing a direct relationship with the curious rocks depicted in his 1889 paintings, but I contend that they show the influence of both the late-nineteenth-century-Qing rock painter Zhou Tang (周棠, 1806-1876) and the curious rock paintings of the middle-class Joseon artist Jeong Hak-gyo (丁學敎, 1832-1914). In conclusion, this study asserts that, for his 1889 nanjukseok paintings, Seo Byeong-o adopted the styles of contemporary painters such as Heo Ryeon and Jeong Hak-gyo, whom he met during his early period at the Unhyeongung through his connection with its occupant, Lee Ha-eung, and those of artists such as Zheng Xie and Zhou Tang, whose works he was able to directly observe in Korea.