• Journal of the Korean Institute of Landscape Architecture
• /
• v.41 no.4
• /
• pp.24-41
• /
• 2013

This study aims to investigate the complex planning processes and design ideas of the Gwanghwamun Plaza which was opened in 2009. The opening of the plaza was significant as it was built in order to restore the symbolic meaning of axis in the historical Joseon Dynasty that was distorted during the Japanese Imperialism. The plaza itself attracts many citizens and tourists by providing the empty ground carrying historical ambiences around. In this paper, the story of the Gwanghwamun plaza will be summarized. Particularly, the background of promoting the project will be discussed and the whole planning process will be dealt with. The plaza was realized through several stages. First, the planning stage will be reviewed. The planning stage had been a quite long process since the initial idea was discussed. Since the early 90s, the political decision of making the plaza was made through the change of people's understanding toward public space. At this stage, the city government worked together with diverse citizens and professionals to share the vision and to realize the right decision in making the plaza. Second, the design stage will be elaborated in detail. This is the second design stage. The former was the idea competition and the latter was the turn-key base. The final design scheme emphasized the restoration of symbolic axis and the forgotten Yukjo Street. The scheme consists of four zones such as history restoration zone, prospect and history representation zone, culture zone, and the urban zone. Through the whole design process, the original idea remained as it was. The design concept was "a place of memory and prospect." It emphasizes the history representation, view corridor, cultural activities platform as well as the emptiness and flexibility of the basic premise of the plaza. Finally, the construction stage will be discussed. There were some additions and omissions in the construction process. The design chances in the construction stage will be reviewed in detail. After the opening of the plaza, there were some changes in the detail design. We will discuss how and why these modifications were made. In the end, the social and cultural implication of the plaza will be discussed. The storytelling of the Gwanghwamun Plaza will contribute to the clear understanding of planning and design process of pubic places. Based on this reflection, we are able to think about some suggestions of public projects for the future.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.38 no.2
• /
• pp.42-59
• /
• 2020

The purpose of this study is to examine the actual cases of crane breeding at private homes in the Joseon Dynasty period, thereby identifying the universal meaning and characteristics of this act reflected in these cases. This study is likely to help understand the true nature of garden culture during the period. The study' temporal and spatial scope was limited to the Joseon Dynasty and private homes. As references for the study, translated versions of classical literature were selected from the Database of Korean Classics(http://db.itkc.or.kr). To complement for the data, related researchers' translated materials were also used in part. The study's results are summed up as follows: First, Individuals from various social classes including royal families, noblemen, noble families in countryside, and commoners kept cranes at their homes. These crane breeders included those who left a significant mark in the Joseon Dynasty politically and academically as well as 'cheosa(處士)' that refers to scholars living in seclusion without entering the government throughout their lifetime. Second, Crane breeders were spread all over the country. Notably, various cases of crane breeding were found within the Hanyang Wall and its vicinity. Third, The act of crane breeding was highly associated with blood ties and academic lineages such as friendships and teacher-student relations. In this regard, crane breeding was not just a simple taste or appreciation for the arts, but rather reflective of a person's life attitude and orientation. Forth, The consciousness of Confucian origins based on an ancient story of Limpo (林逋) appears to have a large impact on the act of crane breeding. In addition, some cases exhibited the reflection of Taoistic tastes. Fifth, Some individuals tamed cranes for a living. This proves the presence of steady demand for cranes in this period. The present study's limitation is its reliance on translated materials, which hindered research into various cases. Therefore, the future discovery of additional data and the accumulation of their translations will enable the investigation of a wealth of cases.

• Cartoon and Animation Studies
• /
• s.36
• /
• pp.375-391
• /
• 2014

Animation movie is a non-photorealistic animated art that consists of formative language forming a frame based on a story and cuts describing frames that form the cuts. Therefore, in expressing an image, artistic expression methods and devices for a formative space are should be provided in a frame while cuts have the images between frames faithfully. Short animation movie is produced by various image experiments with unique image expressions rather than narration for expressing subjective discourse of a writer. Therefore, image style that forms unique images and various image directions are important factors. This study compared the experimental image directions of and , both of which showed a production method of film manipulation. First, while uses pixilation that produces images obtained from live images through painting and many optical disclosure process on a cell mat, was made with diverse collage techniques such as tearing, cutting, pasting, and folding hundreds of scenes from action movies. Second, expresses non-causal relationship of characters by their repetitive behaviors and circulatory image structure through a fixed camera angle, resisting typical scene transition. On the other hand, has an advancing structure that progresses antagonistic relationship of characters through diverse camera angles and scene transition of unique images. Third, in terms of editing, uses a long-take short cut technique in which the whole image consists of one short cut, though it seems to be many scenes with the appearance of various characters. On the other hand, maximizes visual fun and commitment by image reconstruction with hundreds of various short cuts. That is, both works have common features of an experimental work that shows expansion of animated image expressions through film manipulation that is different form general animation productions. On top of that, delivers routine life of diverse human beings without clear narration through image of conceptualized spaces. expresses it in a new image space through image reconstruction with collage technique and speedy progress, setting a binary opposition structure.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.30 no.1
• /
• pp.76-89
• /
• 2012

This study aimed at carrying out a semantic interpretation of the core Design language that seemed to influence deeply in the creation of the ChwuiseokJeong wonlim of Gochang. Especially, this paper aimed at inferring how the spiritual culture of seclusion of the 16th century influenced the creation of the wonlim by understanding the metaphor and symbolism by grasping the transmission meaning and reception meaning of the creators and the people concerned with keywords like Eunil(隱逸: seclusion), Chwuiseok(醉石), and Chilseongam(七星巖). 'Building up a wall' was intentionally carried out in order to represent 'Seven Stars(The Big Dipper)' inside of the wonlim. This is a kind of two-dimensional 'enframement', and a result of active creation of a meaningful landscape. From Chilseongam that was created by assembling, we presumed that Kyung-Hee Kim, Nohgye(蘆溪), the creator showed the recognition and thoughts of astronomy as a Confucian scholar that the ChwuiseokJeong Wonlim where he secluded is the center of the universe. The interpretation of words in Nohgyezip, an anthology, showed that the articles and writtings of Nohgye, his decsendants, and the people of ChwuiseokJeong included alcohols, Chwuiseok, Yeon-Myung Do, and Yuli(栗里) where Do secluded; this means that Nohgye ranked himself with Do because Nohgye also lived in peace by drinking alcohols and enjoying nature like Do did. 'Drinking' was what expressed the mind of Nohgye who wanted to be free and have the joy of enjoying mountains, water, and their landscape like Do did. In other words, 'Drinking' is the symbol of freedom that makes him forget himself and equate himself with nature. These are the representation, imitation, and mimesis of respecting Yeon-Myung Do. As the alegory of 'speaking something with other things' suggested, it is possible to read 'Chwuiseok', came from the story of Yeon-Myung Do, in multiple ways; it superficially points out 'a rock on which he laid when he was drinking', but it also can be interpreted as 'an object' that made him forget his personal troubles. In addition, it means freewill protecting unselfish mind with the spiritual aberration of drinking, 'Chwui(醉)', mentally; also, it can be interpreted metaphorically and broadly as a tool that makes Nohgye reach to the state of nature by the satisfied mind of Yeon-Myung Do. 'Chwuiseok' was a design language that showed the situation of Nohgye by comparing his mind with the mind of Yeon-Myung Do from the Confucian point of view, and a kind of behavioral mimesis based on his respect to Do and 'aesthetic representation of objective reality.' It is not coincidental that this mimesis was shown in the engraved words on Chwuiseok and the creation of ChwuiseokJeong that has the same name with Chwuiseok in Korea and China.

• Journal of Korean Society of Steel Construction
• /
• v.23 no.4
• /
• pp.503-514
• /
• 2011

In this research, the seismic connection details for two concrete-filled U-shape steel beam-to-H columns were proposed and cyclically tested under a full-scale cruciform configuration. The key connecting components included the U-shape steel section (450 and 550 mm deep for specimens A and B, respectively), a concrete floor slab with a ribbed deck (165 mm deep for both specimens), welded couplers and rebars for negative moment transfer, and shear studs for full composite action and strengthening plates. Considering the unique constructional nature of the proposed connection, the critical limit states, such as the weld fracture, anchorage failure of the welded coupler, local buckling, concrete crushing, and rebar buckling, were carefully addressed in the specimen design. The test results showed that the connection details and design methods proposed in this study can well control the critical limit states mentioned above. Especially, the proposed connection according to the strengthening strategy successfully pushed the plastic hinge to the tip of the strengthened zone, as intended in the design, and was very effective in protecting the more vulnerable beam-to-column welded joint. The maximum story drift capacities of 6.0 and 6.8% radians were achieved in specimens A and B, respectively, thus far exceeding the minimumlimit of 4% radians required of special moment frames. Low-cycle fatigue fracture across the beam bottom flange at a 6% drift level was the final failure mode of specimen A. Specimen B failed through the fracture of the top splice plate of the bolted splice at a very high drift ratio of 8.0% radian.

• Journal of Animal Environmental Science
• /
• v.16 no.3
• /
• pp.193-204
• /
• 2010

The goal of this study was to develop a high-rise hog building(HRHB) for growing-fattening stages. HRHB was two story building and was suitable for specific environment in Korea. Manure was treated in a first floor and pigs were raised on the slatted second floor. Three ventilation systems - 1) duct inlet to wall exhaust system(V1), 2) eave inlet to wall exhaust system(V2), and 3) ceiling inlet to wall exhaust system(V3) - were used. This experiment was conducted during winter and from summer to fall. Air temperature, air speed, ammonia, hydrogen sulfide in HRHB, and swine growth rate were measured. During winter, air temperature in V1 system tended to be slightly high without any effect of outside air temperature. Maximum temperature from summer to fall was between 33.4 and $33.8^{\circ}C$ and there was no significant difference among systems. Continuously measured daily temperature was lower in V2 system than other systems and the fluctuation of air temperature was high. Air speed in V1 and V2 systems were similar (0.02~0.21 m/s), and was 0.04~0.15 m/s in V3 during winter. From summer to fall, air speed in V1, V2, and V3 systems were 0.10~0.41 m/s, 0.10~0.83 m/s, and 0.11~0.26 m/s, respectively. V2 system showed bigger fluctuation of air speed than other systems. During winter, the highest concentrations of ammonia in V1, V2, and V3 systems were 7.0, 3.5, and 8.7 ppm, respectively. Hydrogen sulfide was not detected. The highest concentrations of ammonia from summer to winter in V1, V2, and V3 systems were 6.1, 2.8, and 5.6 ppm, respectively. Swine growth showed no statistical significance among systems. However, daily weight gain was approximately 4% higher in V1 and V3 than in V2. Feed intake/daily weight gain was approximately 4% higher in V1 than other systems. From summer to fall, daily weight gain in V1 and V3 tended to approximately 3% higher than other systems, and feed intake/daily weight gain was approximately 2% higher in V1 than other systems. Hence, V2 system for the ventilation system of HRHB should not be utilized.

• Journal of Animal Environmental Science
• /
• v.16 no.1
• /
• pp.41-50
• /
• 2010

The goal of this study was to develop a suitable ventilation system for high-rise hog building (HRHB) for growing-fattening with combined slatted floor pen in second story and in situ manure management system in Korea. The HRHB was constructed as 29m long, 9m wide and 7.6m high for outer dimension with an indoor height of 3.1m and 2.4 for lower and upper floor, respectively. Ventilation systems for each treatment were installed in separated rooms of HRHB. The ventilation types installed in each room were following 3 types: ventilation type 1 (V1), where air was pulled through a circular duct inlet and exhausted by fans; ventilation type 2 (V2), where air was pulled through eave inlet (side ceiling inlet) and exhausted by fans; and ventilation type 3 (V3), where air was pulled through baffled ceiling inlet and exhausted by fans. For each ventilation system, investigated air velocity under minimum, medium and maximum ventilation ratio and air flow pattern inside. The results were as follows; For air flow pattern from top to bottom, V1 showed a homogeneous vertical type, V2 showed a bilateral symmetry type and V3 showed an vertical umbrella type. Under minimum ventilation ratio, air velocity in upper floor (80cm above the slated floor) was similar for V1, V2, and V3. Under maximum ventilation ratio, air velocity in upper floor was undeviating for V1 (0.10~0.26m/s) and varied for V2 (0.12~0.63m/s) while those for V3 was relatively slow and less varied (0.07~0.15m/s). In conclusion, Duct inlet type (V1) can be applied to the development of a new HRHB with additional evaluations such as field test hog feeding.

• Journal for History of Mathematics
• /
• v.22 no.2
• /
• pp.27-52
• /
• 2009

This article discusses the contributions of the leader Oswald Veblen, who was the president of AMS during 1923-1924. In 2006, Korea ranked 12th in SCIE publications in mathematics, more than doubling its publications in less than 10 years, a successful model for a country with relatively short history of modern mathematical research. Now there are 192 four-year universities in Korea. Some 42 of these universities have Ph.D. granting graduate programs in mathematics and/or mathematical education in Korea. Rapid growth is observed over a broad spectrum including a phenomenal performance surge in International Mathematical Olympiad. Western mathematics was first introduced in Korea in the 17th century, but real significant mathematical contributions by Korean mathematicians in modern mathematics were not much known yet to the world. Surprisingly there is no Korean mathematician who could be found in MaC Tutor History Birthplace Map. We are at the time, to have a clear vision and leadership for the 21st century. Even with the above achievement, Korean mathematical community has had obstacles in funding. Many people thinks that mathematical research can be done without funding rather unlike other science subjects, even though they agree fundamental mathematical research is very important. We found that the experience of early American mathematical community can help us to give a vision and role model for Korean mathematical community. When we read the AMS Notice article 'The Vision, Insight, and Influence of Oswald Veblen' by Steve Batterson, it answers many of our questions on the development of American mathematics in early 20th century. We would like to share the story and analyze its meaning for the development of Korean Mathematics of 21st century.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.31 no.4
• /
• pp.1-21
• /
• 2013

This study has researched the characteristics and elements of the chuibyong, a sort of trellis in the Joseon Dynasty through the old pictorial data. The results were as follows; First, as a result of the analysis for the 25 pictorial data in the Joseon Dynasty, the chuibyongs have usually functioned as screening the facility to protect the private life and dividing the spaces of the site, but it was internally regarded as the props which symbolized the dignity and elegance of high class. Especially, not only the faunas such as crane and deer, and the floras such as Pinus densiflora, Musa basjoo, bamboo species and Paulownia coreana, but also various garden elements including oddly shaped stone, pond and pavilion were shown in the surrounding area of the chuibyong, and they were considered as a series of combination that was needed in the ideal garden for the literati. Secondly, the chuibyong was recognized as the ideological object which was typical of the literati culture in the story derived from an ancient event of China. Such image has been reflected intactly in the garden culture, and the chuibyong has been used(considered) as the important scenery of the season to imitate and reenact the Chinese Classical Garden in the narrative painting. Thirdly, in terms of the shape and function, the chuibyong in the paintings in the Joseon Dynasty basically had the function of the shielding and spatial division. Fourthly, the height of the chuibyung was similar to the one of fence which exceeds the person's height or Youngbyek(影壁) which is installed in the front and the rear of the main gate in China, and the various shape's chuibyung was properly set up in many spaces. Lastly, the making of the chuibyong in Joseon Dynasty was related to the trend of the writer's culture which was popular nationally in Ming dynasty rather than the particular functions or the location conditions. Especially, the symbol expression of the chuibyong showed on 'Elegant Gathering in the Western Garden' which was brought from China was recreated in the mansion of the upper class in Hanyang city as the center, and the primary mode for the expression of the wealth and writer's spirit through the chuibyong was transformed into the high-quality's garden element which could be created in the royal palace or the mansion of the upper class. Also, the use of the chuibyung was changed by spreading into the residential style for common people after the mid-nineteenth century, and it means that the chuibyung was developed into Korean styles.

• (The)Study of the Eastern Classic
• /
• no.59
• /
• pp.405-428
• /
• 2015

Painting theorists in Song dynasty often spoke 'Li' when they talked about paintings. But 'Li' of the song dynasty is not limited to the 'ethics'. First, it includes visible 'natural's truth', such as the differences of 'geography' and 'physics' between the depicted objects. Second, it also includes 'common sense' which was based on both the observation and the thinking. The theorists thought if the 'common sense' was improper in the painting, the whole work was invalid. Thirdly, it also includes 'the reasonable sense in special situation', which requires great imagination ability and elaborative faculty. For example, when playing wind instruments and stringed instruments in the same time at the same concert, the painter should accurately draw the different gestures of musicians according to that the wind instrument is 'sound when the finger lift' and the stringed instrument is 'sound after the finger have left' in that moment. Fourthly, it includes 'art reason', theorists call it as 'ShenLi' or 'MiaoLi'. 'ShenLi' or 'MiaoLi' require the creator to join the spiritual concept besides his observation and thinking. For example, 'banana in snow' is neither observed available nor thought of available, but is the result of spiritual concept of creators for seeking everlasting. And at last, it certainly includes 'the principle of ethics'. Painters often highlighted the ethical relations of the feudal nation and the value of individual gentleman through the allegory story of figure painting and even the sudden composition in the landscape painting. 'Geography', 'physical', and 'common sense' are required the meticulous observation and the rational thinking for the painted object. And 'the reasonable sense in special situation', 'the art reason', 'the principle of ethics' are required enhancing painting style in the painting artistic conception and realm of life based on the nuanced observation, making 'technology' into the 'Tao'. This is the six reasonable increasing requirements for the painting work. Therefore, 'seeking the final reason' is the fundamental spirit of painting theory of Song Dynasty.