• Journal of the Korean Institute of Landscape Architecture
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• v.39 no.3
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• pp.26-38
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• 2011

The purpose of this study was to analyze the commemoration culture of Vietnam War Memorials (VWM) in Vietnam. Through site survey, the researcher selected 23 VWM in Vietnam and analyzed 5 categories: memorial type, design concept and narratives, location and spatial form, landscape elements, and content expressed in landscape details. The results are as follows: 1. Because of the long, drawn out Vietnam War, which lasted from 1955 to 1975, VWM were divided into 10 types mainly as soldier cemeteries based on a traditional memorial style, battlefields and places of tragedies considering sense of place, war museums representing victory and atrocity in war, and peace parks promoting reconciliation and peacemaking. 2. The analysis revealed that the main concepts and narratives of VWM were to value the victims of the Vietnam War, remember soldiers' contributions, highlight the victory in war and resistance to the United States, and express a sense of place. Peacemaking applied only to My Lai Peace Park and Han-Viet Hoa Binh Cong Vien, built by international cooperation. 3. Cemeteries and appreciation memorials were designed to follow a traditional memorial space form that highly regard both axis and symmetry. The design concept at battlefields and places where tragedies occurred depended mainly upon a sense of place and used symbolic landscape elements to compensate for the undefined concept. 4. Sculptures and towers were mainly used to highlight war victory and resistance as the representative style of a Socialist country, weapons and pictures exhibited in war museums and battlefield showed the reality and strain of war. Symbolic elements of Buddhism and Confucianism were often introduced as a way to venerate the memory of deceased persons. 5. The state and heroic actions in the Vietnam War were realistically depicted on sculptures and walls. Also, the symbolic phrase, 'TO-QUOC-GUI-CONG' meaning 'our country remember your achievement', were written on the memorial tower and 'Quagmiire' was used to metaphorically represent the difficulties faced by the U.S. military on battlefields during the war and the uncertainly that pervaded U.S. society in those days. 6. In VWM, ideologies like nationalism, patriotism, socialism, capitalism were mixed and traditional cultures like Buddhism, Confucianism, Taoism were inherent. Differing from their Confucianism culture, war heroes, particularly including women, were often described by sculpture, monument, and pictures and the conflict in and outside the country regarding the Vietnam War was shown. Further study will be required to analyze design characteristics of VWM in the u.s. and to understand the difference in commemoration cultures between Vietnam and the U.S.

• Journal of the Korean Institute of Landscape Architecture
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• v.45 no.4
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• pp.11-22
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• 2017

A plaza represents the identity of a city, and that reveals a plaza's importance. Gwanghwamun Plaza and Seoul Plaza are two representative plazas where the citizens can freely express their opinions. Many major plazas in the center of Seoul were built under the Japanese occupation. Among these, the plaza of Joseon Bank has different characteristics than Gwanghwamun Plaza and Seoul Plaza. Even though this plaza was built in the center of the commercial, administrational, and cultural district during the Japanese colonial period, the research on this plaza has been limited. This study was conducted to verify the features of this plaza by analyzing its construction and transformation during the Japanese colonial period. The study's results outline how the plaza was constructed by the Japanese administration. The intention of the government is shown by the fact that it purchased land parcels and held a design competition. In the 1910s, the government purchased seven parcels of land during the expansion of roads as the place for the plaza. During the late 1930s, the government accepted a traffic circle to regulate the traffic and eliminate the conflict between crossing movements. In 1939, a fountain was built in the plaza's center, and its design was selected through a design competition. It was planned as a square, but gradually turned into a rotary. Furthermore, the plaza was a landmark and symbol of the power and modernity of Japan. As the main modal point of public transportation, the plaza became surrounded with largescale Western-style buildings, commercial advertising, and neon signs. The plaza became a place where people could experience the modern city. These spectacular displays showed that Japanese imperialism was perceived as a strange and peculiar landscape to the majority of Korean citizens. This study investigates the history and characteristics of the plaza, focusing on its beginning as well as the transformation of its form. As to the limitations of the study, it does not consider political and economic contexts within the transformation of Seoul and in relation to this plaza. Instead, that research remains for a future study.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.4
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• pp.61-72
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• 2014

Throughout analyzing and construing the words, contexts, and expressive languages used for depicting the pine tree in the novel "Honbul" written by Choi, Myung-Hee the symbolism of the pine and folksy languages used for scenery can be condensed as written below: First, it is explicit that the scenery-words for illustrating the pine tree in "Honbul" are emerged through diverse means methods and expressions. Namely, the reference forms of the pine tree and the expressive means of utilizing words portrays the use of the pine are various and subdivided. Second, the scenery-words found in vocabularies and the contexts of "Honbul" imply various symbolic representation. They not only perform to describe inherent image and symbolism of the pine, but they work for reifying the image of "Honbul" in the narrative structure in "Honbul" as being intrinsic scenery-word. Third, the scenery-words used for expressing aesthetics emerge as synesthetic expressions through the linear beauty and the texture of the pine as well as through five-senses. Forth, on the basis of the inherent symbolism and the image of the pine, the landscape of the background described in "Honbul" deems as a symbolic backdrop. As with then narrative structure of the novel, the pine tree performs as a mediation of the heaven and the earth, god and man, as well as the sacred and the secular. Fifth, scenery-words used for depicting the pine tree are a symbol that represents the spirit and emotion of the character in the novel. Moreover, it is a tool for pursuing the personification of the nature, the deification of the object, and the cosmos of the space. It is also utilized as a device that definitize the ideational image applied to express the landscape of the background of the novel. As mentioned above, the expressions, vocabularies and textures about pine tree represented from "Honbul" are expected to be the beginning of understanding the landscape-images and landscape-languages of pine in not only the setting for this novels, Namwon but also the entire districts of Korea.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.2
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• pp.42-54
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• 2014

This study was conducted to identify landscaping elements such as location, situation and feng shui included in the spatiality of Jangseong Pilmaseowon and to interpret aesthetic features of visual-perceptual spatial composition according to its arrangement. As it is shown in 'Pilamseowon', 'Pilbongseowon', and 'Gimhaseoseowon' appearing in antique maps, the awareness considering 'Pilam' as 'Pilbong' and 'Gimhaseo' was revealed. Mountain Pilamsan[Mountain Munpilsan] which is the location of seowon and Pilam(Brush-shaped rock) is the core of establishment of location identity of Pilamseowon and the symbol of Haseo Kim In-hu, which shows that they are deeply related to Ingeoljiryeong(人傑地靈: 'a place derives reflected glory from an illustrious human') based on connection. Pilamseowon shows locational characteristics of living in stream(溪居) facing panoramic 'jeungsan field' without Ansan(案山). Based on the teachings of Neo-Confucianism, Village Maekdong which is the birth place of Haseo, Pilam, seowon geomancy considering the Danbonghamseo-type(丹鳳含書形) geographical shape, formative reflection, Pilmaseowon and structures revealed in building naming more clearly show symbolic landscaping features resulting from 'theory of 'Heaven-Man Unity'(天人合一)' representing the union of nature and haman, than other seowons. The maximization of centrality through connected yards constructed with the 'jeondang hujae(前堂後齋)' arrangement in the order of Whakyeon-lu, Chenogjeol-dang, Jindeak-jae or Sungui-jae, and Woodong-sa is a unique feature of spatial frame of Pilmaseowon. In addition, it reveals the centrality reinforced with 'the move of inner center through arrangement of Kyeongjang-kag and Kyesengbi inside 'YuSik(遊息)' space and religious space' and the landscaping arrangement of Pilmaseowon from installation and device for reinforcement of territoriality. Moreover, it was found that orders and aesthetic features based on Neo-Confucianism were logically realized in the formation of Pilmaseowon with visual and compositional landscaping arrangement such as 'reinforcement of view centrality through composition of windows and doors', 'securement of visual transparency through framing and duplication', and 'realization of hierarchy through height of jaesil toenmaru'. The meaning system and spatial or visual aesthetic features of Pilmaseowon newly arranged and interpreted through landscaping recomposition is not a coincidental but inevitable result. It is another resource basis and an element that can improve the internal exuberance of Pilamseowon. This landscaping reading study is expected to improve the understanding of landscapes of Pilmaseowon and elevate the sensibility of unrevealed cultural landscapes.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.35 no.1
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• pp.57-67
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• 2017

Based on the study on place name, meaning analysis of buddhist temple Palgyeng, and classifications of instructions and characteristics of writings on rocks, the main results of the study showed the following. Cheongamsa is located in the upstream of Muheulgugok Valley which was run by Hangang Jeong Gu(寒岡 鄭逑), a typical young man in the middle of the Joseon Dynasty, and overlaps with chief monk Byukam Lee Dukjin's(1896~?) object of Cheongamsa Palgyeng during Japanese colonial era. Including the mountain embracing Cheongamsa called Bullyeong-san, various characteristics of writings on rocks such as use of combination of place names including Sudosan, Seonlyeongsan, and Sinseondae, as well as Cheongamsa Temple, Bullyeongdongchun(佛靈洞天), Namuabitabul, Hogye(虎溪), Yeosan Waterfall(廬山瀑布), and Sejinam(洗 塵巖) show co-existence of Confucianism and Taoism mixed together in the temple. Especially for Cheongamsa Valley Hogye and Samsocheon(三笑泉) which is in the precincts of the temple, are realized as the symbol of the scenery of the three religion consilience of Confucianism, Buddhism, and Taoism through announcement using Hogyesamso(虎溪三笑) which originated from Yeosan Donglimsa, Jiangxi, China. Also, there are Yeosan Waterfall with a noble sense of place by negotiating with god, writing on rocks imprinted, and Yeosangyo(廬山橋) in Cheongamsa. As such, cultures of the three religion remain in various layers with the spirit of Hogyosamso symbolizing the consilience and coexistence of the three religion in Cheongamsa without the exclusiveness of Buddhism. Besides, the third precept of Yukhwagyeongbub, known to be practiced in Buddhist temples, which says "Do not only express self-assertion and ignore others" according to the dogma of working together in harmony, is in accordance with the spirits of Hogyesamso. As shown, Gimcheon Cheongamsa which is adorned with cultural landscapes of Hogyesamso, Gugokdongcheon(九曲洞天), and Palgyeng(八景), is not only good enough for the way of Buddhism and Confucianism but also for a place for the three religion consilience embracing the three religion.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.3
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• pp.160-171
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• 2018

This study aims to find an original form of temple flower decoration patterns, considering floral lattice pattern as a view element composing temple landscape. To that end, we analyzed and interpreted the form and symbol expressed in the floral lattice pattern at Nahanjeon of Seonghyel Temple at Yeongju, Gyeongsangbukdo. The front side of Nahanjeon windows shows a sculpture with 176 pure patterns in a form where two squares are in sequence. The basic concept of main front door (the inner gate of Nahanjeon) frames is considered the design language of lotus pond that symbolizes "square land" in traditional gardens. The four leaf clover and arrowhead are water plants discovered in areas nearby ponds, which are a realistic expression conforming to the water ecology of lotus pond. The lotus, which is the most important plant at the main front door, indicates purity, a non-stained state, and the world of the lotus sanctuary, which is the land of blissful happiness in Buddhism. The lotus expressed in the floral lattice pattern is spread in a diverse form, containing the features of creation and destruction, showing the landscape character of the "One Body of Buddha and Lotus". The expression of flying birds such as kingfishers and egrets is an ecologically aesthetic idea to infuse dynamism and vitality into a seemingly static aquatic ecosystem. The floral lattice pattern contains lotus pond scenery showing symbiosis of animals(i.e., dragons, frogs, crabs, fishes, egrets, wild geese, and kingfishers) and plants(i.e., four leaf clovers and arrowheads), which are symbols of relief faith for longevity, wealth, preciousness, and many sons. The pattern is not just an ecological aesthetic expression but a holistic harmony of ecological components such as growth and disappearance of lotus and its leaves, fitting habitats, symbiosis, and food chain.

• Korean Journal of Heritage: History & Science
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• v.47 no.1
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• pp.32-45
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• 2014

In this study, the characteristics of Mongsimjae in Namwon-si, Jeollabuk-do have been researched focusing on the writings engraved in huge stones and rocks of pavilion standing beside a lotus pond and its formative languages in the garden has been interpreted as follows. Name of pavilion(堂號) Mongsimjae(夢心齋) includes a classical scholar's spirit, refusing to serve two kings and homecoming after resignation from a government office(歸去來) of Songam(松菴) Park Moonsu(朴門壽), an ancestor who has brought to the Juksan(竹山) Park's family again. A pavilion standing beside a lotus pond(蓮塘) built in the reception garden is a gardening facility symbolizing 'Yeondang(蓮堂)' Park Dongsik(朴東式) who built Mongsimjae. The bamboo hill connected to the backyard seems to be relevant to 'Juksan', the family clan of Mongsimjae's owner and this kinds of intention can be found in the bamboos in the outer garden naturally led to inside the garden through the flower beds. The purpose for the western arrangement of the main building and gate contrary to the 'chukjwamihyaug'(丑坐未向; a direction toward to the south-southwest) of the prospect of Sarangchae(guesthouse) is interpreted to naturally attract people's eyes to the pavilion standing beside a lotus pond and to mitigate the sense of closure resulting from the huge stones located in the reception garden. Also the writing engraved in the three huge stones, 'Jonsimdae(存心臺)', implies that it is a place where was selected with heart by Juksan Park family who settled down in Homsil, Namwon after 'Haengchon(杏村) Park Jaryang(朴子良)' in Yiphyangjo(入鄕祖), Namwon and 'Jeongwa(靖窩)' is interpreted as a signature representing that it is the most comfortable house where Jeongwa Park Haechang(朴海昌: 1876~1933), the third owner of Mongsimjae, has lived. The pavilion standing beside a lotus pond of the 'Bangjibangdo(方池方島; square pond and square island)' type has no lotus for now and waterside cornerstones roughly piled with broken stones naturally mitigate the slope. There are two water inflows gathering rainwater in the reception garden other than the water inflow of valley and the upper-side water inflow was built using a high waterfall method. The middle island cut into a square was designed to use in two ways, as 'island' or 'steppingstone', according to the water level and the old name of the pavilion standing beside a lotus pond was revealed as 'Cheonundam(天雲潭)' from the engraved writing located in the side of the middle island. In addition, 'Imni(臨履)', engraved writing in the finishing stone of waterside by citing a line of 'Sigyeong(詩經)', implies 'Be a upright classical scholar who pays close attention to one's own behaviors' and 'Jeongchuk(渟?)' is interpreted as a message that desires the eternal staying of the Juksan Park family's wealth. Ultimately, the writings engraved in the huge stones and rocks of the pavilion standing beside a lotus pond are interpreted as a symbol language that wishes the heaven protects and maintains the wealth of the Juksan Park family who is the owner of Mongsimjae.

• Journal of Korean Academy of Nursing
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• v.21 no.2
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• pp.129-149
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• 1991

Circadian rhythm is entrained in the 24-hour time interval by periodic factors in the environment, known as zeitgeber. But most rotating work schedules are outside the range of the entrainment of the pacemaker timing the human circadian sleep - wake cycle. It has been postulated that physiological and emotional disturbances occur in most human functions when the circadian rhythm is disturbed. So application of circadian principles to the design of shift schedules can aid in maintaining the temporal integrity of the circadian system and thereby minimize for the shift worker any detrimental consequences of circadian disruption. This study was a quasi-experimental study to test the effect of shift intervals for the clinical nurse on the circadian rhythm. Twenty nurses newly employed in general units of two hospitals were selected as an experimental group and twelve college nursing students as a control group. Both groups were selected according to an established criteria using a purposive sampling technique. Ten subjects were assigned to a weekly shift group and another ten to a biweekly shift group engaged in a semi -continuous shift schedule(sunday off) with a backward direction, that is, morning -evening - night shift. The control group worked a morning shift for 42 days. Oral temperature rhythm, waking tim, sleep - wake cycle, fatigue, and mental performance were measured during the experimental period. The data collection period was from April 30, 1990 to June 10, 1990. MANOVA, paired t-test, ANOVA, and Student Newman Keuls method were used for statistical analysis. The results are summarized as follows. 1. Phase delay in the acrophase of temperature rhythm was shown according to the backward rotating shift. A complete adaptation to work on the night shift was achieved between the sixth and ninth day of the night shift. 2. There was no difference in either waking time or sleep- wake cycle according to the duration of the working day for every shift group. Significant difference was found in the waking time and the sleep -wake cycle for subjects on the morning, evening, and night shift in both of the shift groups(weekly shift group : λ＝0.121, p＜0.01, λ＝0.112, p＜0.01, biweekly shift group : λ＝0.116, p＜0.01, λ＝0.084, p＜0.01). 3. There was no difference in fatigue between the first working day and the last working day for the control group and for the biweekly shift group. In the weekly shift group, physical fatigue was significantly different for the first day and the sixth day of the night shift(t＝-2.28, p＜0.05). Physical fatigue and total fatigue on the first day of the night shift showed a significant difference among the control group, the weekly shift group, and the biweekly shift group(F＝5.79, p＜0.01, F＝4.56, p＜0.05). There was a significant difference between the shift groups and the control group(p＜0.05), Physical fatigue, neurosensory fatigue and total fatigue on the last day of the night shift showed a significant difference among the control group, the weekly shift group, and the biweekly shift group(F＝12.65, p＜0.01, F＝7.77, p＜0.01, F＝9.68, p＜0.01). There was a significant difference between the shift groups and the control group(p＜0.05). 4. No difference in mental performance was seen between the first day and the last day of work in each case. An arithmatic test on the first day of the night shift revealed a significant difference among the control group, the weekly shift group, and the biweekly shift group(F＝3.79, p＜0.05). There was a significant difference between the shift groups and the control group(p＜0.05) . The digital symbol substitution test and the arithmetic test on the last day of the night shift showed a significant difference among the control group, the weekly shift group, and the biweekly shift group(F＝3.68, p＜0.05, F＝5.55, p＜0.01), and both showed a significant difference between the shift groups and the control group(p＜0.05). Accordingly, this study showed that during night duty, the waking time, sleep- wake cycle, and fatigue increased and mental performance decreased compared with morning and evening duty. It was also found that the weekly shift group had a higher fatigue score on the sixth day of night duty as compared to the -first day, but the waking time, sleep- wake cycle, and mental performance revealed no difference for the duration of the night duty or between shift groups, and complete adaptation of temperature rhythm was achieved between the sixth and ninth day of night duty. It is possible to conclude from these results that for intermediate circadian type in a healthy young woman, a biweekly shift system is more compatible with the circadian timing system than weekly shift system.

• Journal of the Korean Institute of Landscape Architecture
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• v.37 no.2
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• pp.90-103
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• 2009

The poem 'Kyungjusipiyung(慶州十二詠)' written by Seo, Geo-jeong(徐居正) describes sentiments felt for the ruined historical and cultural landscape of Silla's capital city, Kyungju. It differs from the existing 'Eight Sceneries(八景)' as it conveys the strong metaphorical aesthetics of ruins as the episodes and figures are sung, as well as the myths and stories related to the representative holy places of the Silla culture: Gyelim(鷄林), Banwolseong(半月城), Najeong(蘿井), Oneung(五陵), Geumosan(金鰲山), the scenic beauty of deep placeness, Poseokjeong(鮑石亭), Mooncheon(蚊川), Cheomseongdae(瞻星臺), Boonhwangsa(芬皇寺), Youngmyosa(靈妙寺) and Grave of the General Kim Yu-Sin(金庾信墓). Compared with the former "Eight Sceneries" Poems, including Seo Geojeong's 'Kyungjusipiyung', there is a difference in the content of theme recitation, as well as in structure and form, especially with the deep impression of the classical features of the meanings and acts. The sequence of theme recitation seems to be composed of more than two visual corridors visited during trips that last longer than two days. The dominant emotions expresses in this poem, through written in the spring, are regret and sadness such as 'worn', 'broken and ruined', 'old and sad', without touching on the beauty of nature and the taste for life that is found in most of the Eight Sceneries Poems. Thus, the feelings of the reciter himself, Seo, Geo-jeong, about the described sceneries and their symbolism are more greatly emphasized than the beauty of form. The characteristic aspect of his experiences of ruins expressed from 'Kyungjusipiyung' is that the experiences were, first of all, qualitative of the aura conveyed; that is, the quality omnipresent throughout the culture of Silla as reflected in the twelve historical and cultural landscapes. In this poem, the cultural ruins of the invisible dimension such as the myths and legends are described by repetition, parallelism, juxtaposition, reflection and admiration from the antiphrases, as well as the civilized ruins of the visible dimension such as the various sceneries and features of Kyungju. This seems to be characteristic of the methods by which Seo, Geo-jeong appreciates 'Silla' in the poem 'Kyungjusipiyung'. Ruins as an Aesthetic Object imply the noble pride of Seo, Geo-jeong in identifying himself with the great nature of ruins. In 'Kyungjusipiyung', the images of the ruins of Silla and Kyungju are interspersed in spite of his positive recognition of 'the village of Kyungju' based on his records. However, though the concept of ruins has a pessimistic tone connoting the road of extinction and downfall, the aspect here seems to ambivalently contain the desire to recover and revive Kyungju through the Chosun Dynasty as adominant influence on the earlier Chosun's literary tide. The aesthetics of the scenery found in Seo, Geo-jeong's 'Kyungjusipiyung' contain the strongest of metaphor and symbolism by converting the experiences of the paradoxical ruins into the value of reflective experiences.

• Journal of the Korean Institute of Landscape Architecture
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• v.37 no.1
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• pp.110-119
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• 2009

Sosang Pal-Kyung(瀟湘八景), which originated in China and means eight scenes of So River and Sang River, greatly influenced the poems and the pictures in East Asia for a long time and became a cultural phenomenon leading the stereotype of the traditional landscapes in Korea and Japan. Studies on 'Kyung(a scene)' such as 'Pal-Kyung(八景)', have been made continuously until now, but there are no results of a study intensively focusing on the meaning and the form of Sosang Pal-Kyung, which is the origin of the domestic Pal-Kyung culture. The goal of this study is to investigate the typical form observed in Sosang Pal-Kyung-Ga(瀟湘八景歌) and Sosang Pal-Kyung-Do(瀟湘八景圖), as a text of a cultural landscape, and to clear up the coherence structure between a recognition system and a way of thinking that existed in the cultural phenomenon of Sosang Pal-Kyung. In this study, the symbolism of Pal(八) was summarized and the surface structure and the correlation of each Kyung of Sosang Pal-Kyung was explained in light of semiotics through segmenting and disjointing the lexeme of a landscape while the coherence structure and the meaning of Sosang Pal-Kyung-Ga and Sosang Pal-Kyung-Do as a text were investigated. Sosang Pal-Kyung is based on the view of the Sun and the Moon(or Positive and Negative) and the Eight Trigrams(八卦) for divination and is a linguistic symbol in which human life and the principle of circulation and conversion of nature are expressed as characters and picture texts. Its structure has strong coherence and cohesion, which attempt to move the abstruse truth of nature into human consciousness by developing and corresponding the grammatical structure and form of the sentences and the implicative languages emphasizing the symbolism of the words to the characteristics of similarities and contrast. In addition, Sosang Pal-Kyung expresses human life, the processes of birth and death of nature and the mutual response dialectically by putting various factors of the landscape in the frame of regular formality and structure. It is considered that the image signs in Sosang Pal-Kyung emphasize the theory of circulation of human life and nature are narrative scenery, which one looks at with a contemplative view in the circulation system of the time and the season. The cultural phenomena of Sosang Pal-Kyung in the Joseon Dynasty, which had been handed down from the Goryeo Dynasty, had become the driving force of leading aesthetics of Joseon's art and literature by adding the scenery of the point of view of Sung Confucianism. Its coherence structure was changed, but its cohesion was handed down continuously so that it became not only the basic text of the traditional and cultural landscape but also, the typical Korean-style stereotype of a landscape.