• KSCE Journal of Civil and Environmental Engineering Research
• /
• 제28권3C호
• /
• pp.187-196
• /
• 2008

An earthquake of magnitude 5.0 occurred at Ssang-gye-sa, a Buddhist temple in Jirisan, located near the southern border of the Korean peninsula on 4 July 1936. It resulted in severe damage of several buildings and structures in Ssang-gye-sa. Particularly, the top component of a five-story stone pagoda in the temple was tipped over and fell down during the earthquake. This earthquake damage case would be usefully applied to estimating the intensity of ground motion in the Korean peninsula, a moderate seismicity region, where strong motion has never been recorded with the exception of historic seismic events. In order to estimate the local site effects and the corresponding ground motion at Ssang-gye-sa site, intensive site investigations including borehole drilling and in-situ seismic tests such as crosshole and SASW tests were performed in the temple area. Based on the site characteristics, site-specific seismic response analyses using various input motions were conducted for a representative Ssang-gye-sa site by means of both one-dimensional equivalent-linear and nonlinear methods with six input rock outcrop acceleration levels ranging from 0.044g to 0.220g. The resultant site-specific seismic responses indicated the amplified ground motions in the short-period range near the site period of Ssang-gye-sa. Furthermore, the intensity on rock outcrop of the 1936 Jirisan earthquake was estimated by making a comparison between the site responses analysis results in this study and the full-scaled seismic test of pagoda model in the prior study.

• Korean Journal of Mineralogy and Petrology
• /
• 제35권3호
• /
• pp.333-344
• /
• 2022

The quarrying and utilization of natural building stones such as granite and marble are rapidly emerging in developing countries. A huge amount of wastes is being generated during the processing, cutting and sizing of these stones to make them useable. These wastes are disposed of in the open environment and the toxic nature of these wastes negatively affects the environment and human health. The growth trend in the world stone industry was confirmed in output for 2019, increasing more than one percent and reaching a new peak of some 155 million tons, excluding quarry discards. Per-capita stone use rose to 268 square meters per thousand persons (m²/1,000 inh), from 266 the previous year and 177 in 2001. However, we have to take into consideration that the world's gross quarrying production was about 316 million tons (100%) in 2019; about 53% of that amount, however, is regarded as quarrying waste. With regards to the stone processing stage, we have noticed that the world production has reached 91.15 million tons (29%), and consequently this means that 63.35 million tons of stone-processing scraps is produced. Therefore, we can say that, on a global level, if the quantity of material extracted in the quarry is 100%, the total percentage of waste is about 71%. This raises a substantial problem from the environmental, economical and social point of view. There are essentially three ways of dealing with inorganic waste, namely, reuse, recycling, or disposal in landfills. Reuse and recycling are the preferred waste management methods that consider environmental sustainability and the opportunity to generate important economic returns. Although there are many possible applications for stone waste, they can be summarized into three main general applications, namely, fillers for binders, ceramic formulations, and environmental applications. The use of residual sludge for substrate production seems to be highly promising: the substrate can be used for quarry rehabilitation and in the rehabilitation of industrial sites. This new product (artificial soil) could be included in the list of the materials to use in addition to topsoil for civil works, railway embankments roundabouts and stone sludge wastes could be used for the neutralization of acidic soil to increase the yield. Stone waste is also possible to find several examples of studies for the recovery of mineral residues, including the extraction of metallic elements, and mineral components, the production of construction raw materials, power generation, building materials, and gas and water treatment.

• Korean Journal of Heritage: History & Science
• /
• 제56권4호
• /
• pp.40-52
• /
• 2023

The basic purpose of building material called tiles is waterproofing and damp proofing, and they were restricted to use on important buildings to symbolize authority. This is especially true during the Three Kingdoms period, although unearthed examples are rare. Most of these tiles are found in ruins in the Silla and Baekje regions. Tiles were excavated from the Buwon-dong ruins that show the oldest manufacturing technique in the Gaya region to date, and tiles from the early Three Kingdoms period were recently excavated from the Gimhae Bonghwang-dong ruins, which is presumed to be the site of the royal palace of Geumgwan Gaya. These are important materials that show the appearance of tiles from the early days of Gimhae, the ancient capital of Geumgwan Gaya. The tiles excavated from the Bonghwang-dong ruins are reddish-yellow because a small amount of sand was mixed in the tile material and baked at a low temperature. The tiles are thin, no traces of fabric were identified, but traces of clay bands were identified. Tapping tool marks and traces of an anvil used in pottery production are clearly observed on the inside and outside, indicating that the tiles were made in the same way as earthenware manufacturing methods. If this is connected to the genealogy of the potters who made Gaya earthenware, it is estimated that tiles and earthenware were produced together as in the Songrim-ri ruins in Bulo-dong, Incheon, Songgok-dong ruins in Gyeongju, and Mulcheon-ri ruins. To date, tiles excavated from the Gimhae area have been identified only in places believed to be the Geumgwan Gaya City Wall (Royal Palace) in the Gimhae Basin. Considering what has been recorded so far and the geographical scenery, the Bonghwang-dong remains are the only city wall candidate site, and this is clearly revealed through the existence of the excavated tiles, which proves this. Considering that a small number of tiles were excavated during this time, it is estimated that the role of tiles as a luxury product with a symbolic meaning was greater than that of roofing materials, and there were strict restrictions and controls on its use.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• 제41권3호
• /
• pp.59-66
• /
• 2023

This study attempts to examine the process of establishing a Japanese-style garden in the modern period through the perspectives of garden designers, spatial composition, spatial components, and materials used in their works, and to use it as data for embodying the identity of Korean garden. The results are as follows: First, by incorporating elements associated with Koreanness into the modern garden culture, there are differences in location, presence, and subjectivity when compared to Japan. This reflects Japan's relatively seamless cultural continuity compared to Korea's cultural disconnection during the modern period. Second, prior to the modern period, Japan's garden culture spread and continued to develop throughout the country without significant interruptions. However, during the modern period, the Meiji government promoted the policy of 'civilization and enlightenment (Bunmei-kaika, 文明開化)' and introduced advanced European and American civilizations, leading to the popularity of Western-style architectural techniques. Unfortunately, the rapid introduction of Western culture caused the traditional Japanese culture to be overshadowed. In 1879, British architect Josiah Condor guided Japanese architects and introduced atelier and traditional designs of Japanese gardens into the design. The garden style of Ogawa Jihei VII, a garden designer in Kyoto during the Meiji and Taisho periods, was accepted by influential political and business leaders who sought to preserve Japan's traditional culture. And a protection system of garden was established through the preparation of various laws and regulations. Third, as a comprehensive analysis of Japanese modern gardens, the examination of garden designers, Japanese components, materials, elements, and the Japanese-style showed that Yamagata Aritomo, Ogawa Jihei VII, and Mirei Shigemori were representative garden designers who preserved the Japanese-style in their gardens. They introduced features such as the creation of a Daejicheon(大池泉) garden, which involves a large pond on a spacious land, as well as the naturalistic borrowed scenery method and water flow. Key components of Japanese-style gardens include the use of turf, winding garden paths, and the variation of plant species. Fourth, an analysis of the Japanese-style elements in the target sites revealed that the use of flowing water had the highest occurrence at 47.06% among the individual elements of spatial composition. Daejicheon and naturalistic borrowed scenery were also shown. The use of turf and winding paths were at 65.88% and 78.82%, respectively. The alteration of tree species was relatively less common at 28.24% compared to the application of turf or winding paths. Fifth, it is essential to discover more gardens from the modern period and meticulously document the creators or owners of the gardens, the spatial composition, spatial components, and materials used. This information will be invaluable in uncovering the identity of our own gardens. This study was conducted based on the analysis of the process of establishing the Japanese-style during Japan's modern period, utilizing examples of garden designers and gardens. While this study has limitations, such as the absence of in-depth research and more case studies or specific techniques, it sets the stage for future exploration.

• Korean Journal of Heritage: History & Science
• /
• 제42권3호
• /
• pp.154-175
• /
• 2009

At the present state, studies on Gyeongbok palace are being done with history of architecture, records, and art. However, these studies have limits that they can only depend on existing buildings and record, which make it hard to research whole aspect of palaces. The foundation remains(Jeoksim) of Gyeongbok palace in the ground gives important clues that can fill the gaps of these studies. Thus I analysed jeoksim of Gyeongbok palace, assorted them by type, scale, material, and construction method. I examined jeoksim used by various types of building, and looked at changes by periods. Jeoksims are classified in 21 types. The foundation(jeoksim) varies according to types of buildings, building types and material of jeoksim also varies along the periods, and the fact proves certain peroid of time has its own jeoksim style in fashion. Jeoksims of Gyeongbok palace are divided into round-shape(I), rounded square-shape(II), rectangular-shape(III), square-shape(IV), and whole foundation of building(V) by the plane shape. They can be divided again into 21 types by construction techniques and materials used. During early Joseon(I), only three types of jeoksim; round-shape riprap jeoksim(1-1), II-1(rounded square-shape), II-2a(rounded square-shape riprap+roofingingtile brick), had been built, but as 19th century begun, all 21 types of jeoksim had built. In 19th century during Emperor Gojong, different types of jeoksim by periods were built, and especially different materials were used. During Gojong year 2(1865)~year 5(1868), in which Gyeongbok palace were rebuilt, 7 out of 10 types of jeoksim used piece of roofinging tile and brick mixture, in contrast, during Gojong year 10(1873)~13(1876), or 25(1888), 3 out of 5 types of jeoksim used sandy soil with mixture of plaster. Meanwhile palace buildings have different names by the class of owner and use such as Jeon, Dang, Hap, Gak, Jae, Heon, Nu, and Jeong, which were classified by types and buildings were built according to each level. With an analysis of jeoksim by its building types, I ascertained that jeoksim were built differently in accordance to building types(Jeon, Dang, Hap, Gak, Jae, Heon, Nu, and Jeong). By the limitation of present document, only some types of buildings such as Jeon, Dang, Gak, Bang were confirmed, as for Jeon and Gak, square-shape(IV) built with rectangular parallelepiped stone, and for Dang and Bang, rounded square-shape(IV) built with roofinginginging tile and riprap were commonly used. From the fact that other jeoksim with uncertain building names, were mostly built in early Joseon, we learn that round-shape riprap jeoksim(1-1) were commonly built. Therefore, the class of building was higher if the owner was in higher class, jeoksim is also considered to be built with the strongest and best material. And for Dang and Bang, rounded square-shape jeoksim were used, Dang has lots of II-2a (riprap + piece of roofing tile and brick rounded square-shape) type which mainly used riprap and piece of roofing tile and brick, but Bang has lots of II-2b (piece of roofing tile and brick+(riprap+piece of roofing tile and brick rounded square-shape), which paved piece of roofing tile and brick by 15~20cm above. These jeoksim by building types were confirmed to have changed its construction type by period. As for Jeon and Gak, they were built with round-shape riprap jeoksim(1-1) in early Joseon(14~15c), but in late Joseon(19c), various types of Jeoksim were built, especially square-shape(IV) were commonly built. For Dang, only changes in later Joseon were confirmed, jeoksim built in Gojong year 4(1867) mostly used mixture of riprap and piece of roofing tile and brick. In Gojong year 13(1876) or year 25(1888), unique type of plaster with sand and coal and soil layered jeoksim were built that are not found in any other building types. Through this study, I learned that various construction types of jeoksim and material were developed in later Joseon compare to early Joseon. This states that construction technique of building foundation of palace has upgraded. Above all, I learned jeoksim types are all different for various kinds of buildings. This tells us that when they constructed foundation of building, they used pre-calculated construction technique.

• Journal of the Korean Wood Science and Technology
• /
• 제6권2호
• /
• pp.3-19
• /
• 1978

Five species, Abies koreana Wilson (A. koreana), Castanopsis cuspidata var. Sieboldii Nakai (C. Cuspidata). Machilus thunbergii Sieb. et Zucc. (M. thunbergii), Styrax japonica (S. japonica), and Quercus acuta Thunberg(Q. acuta) growing in the southern part of Korea were selected for the investigation of wood properties. In order to evaluate the wood properties of these five species, anatomical, physical, mechanical, chemical and pulping characteristics were investigated. And this study also covered wood technological problems related to the drying, gluing, debarking, flooring, and wood workability so that these species might serve to the best advantage. The results obtained were summarized as follows: 1. The trunk of A. koreana with many knots was straight. However, the trunks of S. japonica and C. cuspidata were crooked. 2. A. koreana showed the longest and the widest ill the fiber morphology; 2.97mm in length, 39.3${\mu}$ in width. In general, fiber width of all the species investigated were greater than those of other Korean hardwoods. 3. The specific gravity of Q. acuta was 0.74${\pm}$0.03, and that of A.koreana was 0.34${\pm}$0.02. The range of specific gravity of the other species was 0.47-0.52. 4. The adsorption of water was propotioned inversely with the specific gravity, but the adsorption of humidity was proportioned with the specific gravity. In spite of their medium density, S. japonica showed the greatest adsorption, and M. thunbergii the least. The water adsorption of cross section was twice greater than that of lateral direction, and there was a slight difference in between the radial and the tangential direction. 5. Shrinkage for tested five species was ranged from 5.36 to 10.24% in tangential direction, and 2.83~6.13% in radial direction. Q. acuta recorded the greatest shrinkage rate, and A. koreana the least. The greater was the specific gravity, the larger was the shrinkage rate. 6. The mechanical properties of Q. acuta were similar to those of Quercus mongolica which grow in Kangwon-Do. Strength properties of C. cuspidata, M. thunbergii, A. koreana were equivalent to those of other Korean commercial woods with similar specific gravity, except S. japonica which showed slightly higher strength than that of other species with similar density. 7. Higher glue joint strength for urea and phenol adhesieves was recorded in the species of M. thunbergii and C. cuspidata, however, high-density species(Q. acuta) and even low-density species(A. koreana) did not show good joint strength. 8. The attractive figure of M. thunbergii in texture seemed to he appreciated for decoration. And the grain and texture of other species were proper for furniture and building materials. 9. All of the species except Q. acuta were considered good for wood workability. 10. The denser the specific gravity was, the longer the drying time took. However, severe drying defects were formed in M. thunbergii whose density was medium. 11. All the species were considered suitable for the flooring wood expect A. koreana whose density was light. 12. Pentosan component in all the species was great, and the amount of extractives in Q. acuta was worth noticing. 13. Yield in kraft pulp was above the level of economic pulp yield, i.e. 45% in all species. 14. Debarking was easy in the species of A. koreana and M. thunbergii, and debarking after being boiled in water was the most efficient in all species.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• 제39권2호
• /
• pp.15-28
• /
• 2021

'Cheonunjeongsa (天雲精舍)', designated as Gyeongsangbukdo Folklore Cultural Property No. 76, is a Siksanjeongsa built in 1700 by Manbu Lee Shiksan. In this study, we investigate the life and perspective of Manbu Lee in relation to Siksanjeongsa, and estimate the feng shui location, territoriality, and original landscape by analyzing 「Nuhangnok」 and 「Nuhando」, the results of his political management. The following results were derived by examining the philosophy that the scholar wanted to include in his space. First, Manbu Lee Shiksan was a representative hermit-type confucian scholar in the late Joseon Dynasty. 'Siksan', the name of the government official and the nickname of Manbu Lee, is derived from the mountain behind the village, and he wanted to rest in the four areas of thought(思), body(躬), speech(言), and friendship(交). During the difficult years of King Sukjong, Lee Manbu of a Namin family expressed his will to seclude through the title 'Siksan'. Second, There is a high possibility of restoration close to the original. Manbu Lee recorded the location of Siksanjeongsa, spatial structure, buildings and landscape facilities, trees, surrounding landscape, and usage behaviors in 「Nuhangnok」, and left a book of 《Nuhangdo》. Third, Manbu Lee refers to the feng shui geography view that Oenogok is closed in two when viewed from the outside, but is cozy and deep and can be seen from a far when entering inside. The whole village of Nogok was called Siksanjeongsa, which means through the name. It can be seen that the area was formed and expanded. Fourth, the spatial composition of Siksanjeongsa can be divided into a banquet space, an education space, a support space, a rest space, a vegetable and an herbal garden. The banquet space composed of Dang, Lu, and Yeonji is a personal space where Manbu Lee, who thinks about the unity of the heavenly people, the virtue of the gentleman, and humanity, is a place for lectures and a place to live. Fifth, Yangjeongjae area is an educational space, and Yangjeongjae is a name taken from the main character Monggwa, and it is a name that prayed for young students to grow brightly and academically. Sixth, the support space composed of Ganjijeong, Gobandae, and Sehandan is a place where the forested areas in the innermost part of Siksanjeongsa are cleared and a small pavilion is built using natural standing stones and pine trees as a folding screen. The virtue and grace of stopping. It contains the meaning of leisure and the wisdom of a gentleman. Seventh, outside the wall of Siksanjeongsa, across the eastern stream, an altar was built in a place with many old trees, called Yeonggwisa, and a place of rest was made by piling up an oddly shaped stone and planting flowers. Eighth, Manbu Lee, who knew the effects of vegetables and medicinal herbs in detail like the scholars of the Joseon Dynasty, cultivated a vegetable garden and an herbal garden in Jeongsa. Ninth, it can be seen that Lee Manbu realized the Neo-Confucian utopia in his political life by giving meaning to each space of Siksanjeongsa by naming buildings and landscaping facilities and planting them according to ancient events.

• Journal of the Korean Institute of Landscape Architecture
• /
• 제45권5호
• /
• pp.87-96
• /
• 2017

This study focuses on the Andong Hahoe Village and seeks to identify the shape of the walls since the 1970s. The change of walls can be divided into four periods based on characteristics of materials, shape and distribution. The following is a summary of the results: First, In the 1970s, when Andong Hahoe Village was not designated as a cultural heritage, roof tiles hung on the earthen walls in the middle of the village were major forms. On the outside of the village, rice straw and pine needles were put on the earthen walls or bush clover walls were put in place around if walls were not built. Second, after being designated as a cultural heritage in the 1980s, readjustments for cultural heritages were carried out at the primary stage. However, the distribution of cultural heritages and major changes were not determined at this time since readjustments were mainly focused on the renovation of derelict houses or maintenance of infrastructures. Third, in the past the use of stone bricks for the Hahoe Village site had been difficult, but in the 1990s, replacements with soil-stone walls were identified and the usage of roof tiles increased. The portion of earthen walls, which used to be the major form in the prior era, decreased and this seems to have continued until the 2000s. Fourth, via a field survey, it was found that most of Hahoe village walls consisted of soil cement bricks mixed with cement, steel, lime, gravel. etc. Also, the scope of straw-stricken walls and bush clover walls were reduced to a section of area outside of the village. Fifth, from the 1970s to the present, there were changes to the walls in Hahoe Village including an increase in usages of new materials and an expansion of houses with tiled roofs on top in accordance with the replacement of walls of existing houses. Relevant reasons for this have been identified, such as the fading value of Fungsui(風水) and lack of original records, insufficient awareness and expertise in non-building areas, and the relationship between residents on repairing the wall.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• 제31권2호
• /
• pp.70-81
• /
• 2013

In this study, the locational and constructional characteristics of Jukrimseowon, pavilion Imrijeong, and Palgwaejeong located in Nonsan, Ganggyung-eup were reviewed and the interrelation of these three places were studied through references including records of those days; Sagyeyonbo(沙溪年譜), Jukrimseowon dorok(竹林書院都錄), Imrijeonggi(臨履亭記), Jukrimseowon Myojeongbi(竹林書院廟庭碑), Namyurok(南遊錄). The result is as follows. Jukrimseowon enshrining Yukhyeon(六賢) is arranged as 'Hongsalmoon-Woisalmoon-Dongjae(憲章堂; Heonjangdang)' and 'LIbrary-Naesammoon(神門; shin moon)-Sau(竹林祠: Jukimsa)', excluding a lecture hall. In case of Sagye Jangsang Kim's Imrijeong(沙溪金長生) and Uam Shiyoel Song(尤庵宋時烈)'s Palgwaejeong respectively constructed 50 meters and 10 meters each away from Jurimseowon, detail designs such as scale, roofs, surface, windows, doors, and tablets as well as its prospect are nearly identified. Especially Taking Imrijeong and Palgwaejeong's locational conditions composed of rocks centered on Jukrimseowon, those are maintain the bilateral symmetry as much as possible and surround the shrine. It appeared that the Jukrimseowon's shrine enshrining Yulgok(栗谷) and Ugye(牛溪) was rebuilt during the reconstruction of auditoriums because of political conditions after the renovation of Kiing Injo and it was called as 'Hwangsanseowon(黃山書院)' with Imrijeong which was a lecture hall. It was an inevitable consequence to keep the bilateral symmetry which is a basic order of auditorium structure by maintaining and using Imrijeong and Palgwaejeong as a lecture hall of the auditorium after the reconstruction at least. Consequently, the desperate attempt to adjust the arrangement and visual imbalance of Imrijeong built with periodical differences and Hwangsanseowon resulted from the construction of shrine was Palgwaejeong built under Monggoibyuk of Hwansan Taken these circumstances together, Jukrimseowon is a 'shrine-centered auditorium' with characteristics of auditorium, constructed by integrating Imrijeong which was used as a lecture hall after the construction of shrine and Palgwaejeong repaired through the reconstruction. The construction of Palgwaejeong and the formative conformity with Imrijeong are assumed as an consequence intended for the compensation of Jukrimseowon's function and role as an auditorium. This study will provide an opportunity to focus on the auditorium and pavilion's complementary function as well as the Confucian and constructional functions by revealing the fact that pavilions were established as a complementary facility for the lecture hall of auditorium.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• 제36권3호
• /
• pp.149-159
• /
• 2018

The study is aimed at establishing basic data to identify the original forms of the garden in Unbo's House. Through interviews and related data comparison analysis the ideas and major events of the person involved in establishing a garden in Unbo's House. Also, derived the direct and indirect effects of these people on gardening. The results are as follows: First, Those directly related to garden in Unbo's House are representative figures of cultural heritage and traditional art in Korea. Based on their expertise and abundant experience in traditional spaces, they contributed greatly to the creation of Unbo's House as a traditional space. Unbo Kim, Gi-Chang who directly influenced Unbo's House gardening, which affected the site selection, location, and the installation of major garden plant plants and traditional landscaping facilities. Hyegok Choi, Soon-Woo recommended Wabon Kim, Dong-Hyun at the request of Kim Ki-Chang and was involved in the overall plan. Housing design, space design and design of major facilities such as pond were confirmed Wabon Kim Dong-Hyun. Second, Kim, Gi-Chang's wife Jeong, Rae-Hyun, who motived to construct a garden. Nosan Lee, Eun-Sang and Korean artist Lee, Seok-Ho were created a signboard and board of the Pillar to encourage simple life in paintings. The themes of the article motived image as creative. In addition, Kim, Hyeong-Sik and Kim, Wan who son of Unbo, has been with Unbo for a long time, watching and influencing garden changes in Unbo's House. Third, The main factors that influenced the garden by character are as follows. Unbo Kim, Ki-Chang had a thorough record-setting spirit and his longing for his mother and wife affected the selection of the site and setting the direction of the garden. His art world with the symbolic emphasis of traditional landscapes, including traditional facilities, and especially plant materials. Choi, Sun-Woo reflected his traditional consciousness and experience in the construction of Unbo's House. Kim, Dong-Hyun applied the basic framework of a traditional building based on Yeonkyongdang hall in Changdeokgung palace. He also reflected on the traditional landscaping design the facilities of ponds acquired through excavation of Donggung Palace and Wolji Pond, Gyeongju. Nosan Lee, Eun-Sang and Lee, Seok-Ho completed their unique place in Unbo's House. Kim, Hyung-Sik was involved in the process of changing, while Kim Wan ran the Unbo's House which he inherited from Kim, Ki-Chang.