• Korean Institute of Interior Design Journal
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• v.26 no.4
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• pp.75-83
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• 2017

The cultural tendency based on sharing and cooperation, which has recently been a hot issue, accelerates throughout the world. This study began with a perception that a sharing culture is inherent in urban public spaces. This study aims to conduct a theoretical study of the sharing culture and to analyze the characteristics of the design composition of public spaces. This study selected squares in 16 European cities as cases for analysis. The results are summarized as follows:1)To analyze the design characteristics of public spaces in which a sharing culture is inherent, this study drew the shape and type of planes and sharing elements such as accessibility, symbolism and activity with the squares in the cases. 2)The shape of planes in the squares in the cases has been formed in close relations with the historic meaning and events of the area and the process of the construction of buildings surrounding the square. The squares in the cases were classified into seven plane types, and these squares have developmentally contributed to the formation of a sharing culture as a place for free participation and communication concerning social issues. 3)In the squares in the cases, the weight of road-centered access appears high, and in terms of the construction of human-friendly / environment-friendly infrastructure in the city or judging from the trend of the recent increase of pedestrian-centered plans for public space, it is judged that approaches with a high utilization rate of sidewalk or public transportation would be desirable. 4)Symbolic elements of the square become a device by which citizens can share the historic symbolism, along with artistic inspiration. In addition, by serving as an observatory from which people can take a view of the landscape of the city, it allows visual sharing of the entire city as well as the square. 5)A square is common pool resources in the community, and it is necessary to vitalize that in a direction of increasing the possibility of sharing, through the characteristics and methods of the composition of public design.

• Journal of the Korean Society of Floral Art and Design
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• no.43
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• pp.101-122
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• 2020

In this paper, the social paradigm is rapidly changing with the expansion of human consciousness, which has emerged as the development of 20th century science and the influence of cutting-edge media as the search for new forms of flower art sculptures. Is becoming. Accordingly, the purpose of this study is to analyze the interaction relationship of the expression elements of environmentally friendly pressed sculptures in the space as interior materials in the space where customer service is provided. (Research method) After deriving the formative expression characteristics of environmentally friendly pressed flower sculptures, and deriving interactive analysis elements between the servicescape space and humans of the pressed flower sculptures through references, service the flower sculptures for 8 installation cases The expression patterns of the interrelationships in the space of the landscape of the landscape were analyzed. (Results) The characteristics of dynamic formation and continuity were emphasized in the environment-friendly pressed sculpture space, and the interaction that the sympathetic reaction to the natural motif element felt as a new experience in space appeared. In the future, commercial spaces can be actively experienced through natural elements, and users can experience active interactions to create differentiated spaces as spaces where humans and humans coexist.

• Korean Journal of Heritage: History & Science
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• v.42 no.1
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• pp.100-121
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• 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 the Korean association of regional geographers
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• v.23 no.1
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• pp.118-135
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• 2017

The decline in urban center, changes in the population structure, economic slump and etc. have caused empty or deserted houses in the city. The government recognizes the houses as the reason for the accelerated formation of local slum, and as the negative element threatening the residential environment, urban landscape, social stability and others. This research aims at investigating the spatial distribution of empty or deserted houses in Gwangju metro city, identifying hotspots and classifying those hotspot according to the socioeconomic indicators as well as physical ones, and examining their characteristics and problems in the urban space. The results of this study are as follows. First of all, there is a positive spatial autocorrelation in the spatial distribution of empty and deserted houses in Gwangju metro city. Second, several hotspots are identified mainly around the old CBD area showing a sign of urban decline. Third, the indicators of urban decline were visualized using triangulation charts, and hotspots of empty(deserted) houses are classified so that the classification could serve for effective urban regeneration policy making tailored for each region.

• Journal of the Korean Institute of Landscape Architecture
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• v.38 no.2
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• pp.37-52
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• 2010

The main purpose of this study is to examine how place representation is related to the formation of urban parks in Seoul, which began at the end of the 19th century. In order to grasp place representation, the hypothesis of this study is that most urban parks are undertaken with the idea of monumentality and symbolism or memories of the place itself. Diverse ways of representation through physical or non-physical aspects of symbolism, monumentality, and place memory are summarized as follows. First, in the case of the physical aspects of representation in the parks, monumentality and symbolism are expressed mostly through monuments or statues. In the case that the intention of the park is commemorative, celebrative elements are more actively utilized. In other cases, symbolic sculptures or statues, which are randomly designated by the government, are so often used regardless of the overarching concept of the urban park. In addition, in the case of place memory, monumentality or symbolism are commonly represented through bronze statues or partial remnants of the past. Recently, however, the site in itself has been constructed to coordinate the memories of a certain place into the configuration of the park. Secondly, in relation to the non-physical representation elements, many urban parks tend to reveal monumentality or symbolism through the names they are given. Recently, this tendency has significantly dropped, but some places of parksare frequently denominated in consideration of place memory. In the case of events held in parks, parks which were constructed in the beginning of the park movement, such as Tapgol Park, hold certain events to commemorate certain causes that took place in those days. On the other hand, the main purpose of recently-constructed urban parks relating to place memory is to encourage citizens to participate in events in a variety of ways.

• The Journal of Art Theory & Practice
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• no.9
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• pp.171-193
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• 2010

This paper examines Fernand Khnopff's Symbolism, focusing on the I Lock My Door upon Myself as a manifesto of his artistic credo in style and theme. Its title was originally in English, originating from the poem "Who Shall Deliver Me?" by Dante Gabriel Rossetti's sister Christina Rossetti. I use the term "Social Symbolism" which combines a nationalist perspective with traditional French Symbolism, in order to explain how the image of Bruges is represented in his oeuvre. Symbolism calls for psychological introspection evoking death, love, silence, and solitude and recluse from realty in pursuit of the Unknown and the Ideal. Although Khnopff shared this idea, he departed from symbolist tradition by incorporating a political milieu in his paintings. First, I discuss Khnopff's early stage in the formation of his artistic concept, including his family background as well as his early opportunity to visit the Exposition Universelle in Paris where he formed his early interests in aesthetics, philosophy, literature, mythology and Egyptian art. His early works, La Painture, la Musique, la Poesie(1880-1881), Le Crise(1881), and En ecoutant Schuman(1883) reveal his favorite subjects which were quite prevalent in the symbolist traditions of both Belgium and France. By looking at Khnopff's paintings, I endeavor to situate his Symbolism in the context of the development of Belgian modernity and cultural nationalism. Second, my analysis of Khnopff creates a new overview of Symbolism in Europe, especially in Belgium. In the absence of socio-political integration, the Symbolist painter adds nostalgic meaning to the landscape of Bruges. The scene of Bruges illuminates the social atmosphere in Belgium at that time. Since Belgium became an independent country, it tried to differentiate its own cultural and national identity from France. There was a powerful social movement for Belgium to claim its own identity, language, and culture. Bruges was, for Symbolists, the epitome of Belgium's past glory. This encouraged the formation of Belgian nationalism centering on Brussels, as I demonstrate in Khnopff's Bruges-la-Morte(1892). The relationship between Symbolist artist and writers is crucial for understanding this development. Khnopff, for instance, illustrated or provided frontispieces for many Symbolist writers such as Rodenbach, Peladan, Spencer and Le Roy. Khnopff did not objectify the exact meaning, but rather provided his own subjective interpretation. In this respect, I Lock My Door, inspired by Rossetti, started from the same motif, but Khnopff seeked escape into silence and death while Rossetti searched for Christian salvation. Finally my paper deals with the social context in which Khnopff worked. He was a founding member of Les XX in 1883 and later La Libre Esthethetique he also participated in the exhibition of le Salon de la Rose + Croix. Les XX was not a particular school of art and did not have a uniform manifesto, but its exhibitions focused on decorative arts by encompassing art for all people via common, everyday objects. The Periodical, L'art moderne was founded to support this ideal by Edmond Picard and Maux. Les XX declared art as independent art, detached from all official connections. Khnopff designed the 1890 catalogue cover of Les XX and the 1891 cover. These designs show decorative element of Art Nouveau in an early example of "modern poster." Les XX pursued all art including graphic arts, prints, placard, posters and book illustrations and design. These forms of art were l'art social and this movement was formed by the social atmosphere in Belgium in terms of social reforms and strikes by working class. Khnopff designed the book cover for la Maison du Peuple. The artist, however, did not share the ideal egalitarianism of the working class to a certain degree, while he was working in his villa he designed under the ideal motto, "on n'a pas que," he expressed the nihilistic emotions toward society by the theme of interiority such as solitude, silence, narcissism, introspection, and introversion. In the middle of his Symbolism, we find the "cultural nostalgia" or longing that the artist develops in the I Lock My Door upon Myself. Khnopff's longing toward the lost city of "Bruges" form the crux of his "Social Symbolism."