• Journal of Korean Society of societal Security
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• v.3 no.2
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• pp.65-71
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• 2010

This study was conducted to provide a method for fire suppression in a central area inside the roof of a wooden cultural property using a gas extinguishing apparatus, which is used as one of fire suppression methods with view to preventing valuable wooden properties inherited from ancestors from being destructed by fire. For a wooden property, it is very difficult to suppress fire when combustion spreads to a central area inside its roof, so it is impossible to put out a fire without destructing it. Such a fire fighting apparatus as a sprinkler, etc., installed in modern structures, is very effective, but the possibility of damaging a cultural property is highly probable after installment and operation, which leads to its low adaptability to a wooden property. Thus, the necessity of developing a fire suppress ion apparatus was raised to minimize the said problem and to obtain the desired results, and the need of making a plan on the installment was also raised based on the results of a test whose validity was proven. The central area inside a roof is a traditional - architectural style which is found in Korean wooden structures only, so it is impossible to discover similar cases in foreign countries. For this reason, this study was conducted to verify the effectiveness by developing a fixed fire suppression apparatus designed considering the speed and effectiveness in fire suppression. This study was sequentially carried out in the following steps. First, a frame for this study was made and the specific plan on a fire suppression method was established. Then, a fire suppression apparatus was installed. In the first step, the effectiveness for fire suppression was tested by installing valve open - punched - main water pores, and in the second step, the same effectiveness was tested by valve opened - punched - injection ports. For a wooden property similar to "Sungnyemun"(Gate of Exalted Ceremonies), its central area of the roof decides whether the fire suppression is successful or not, so the opinions on how to put out a fire were presented in this study, and thus the objective data to establish a method on fire suppression in a wooden structure(cultural property) was secured. Lastly, a scientific verification in the effectiveness for fire suppression measures was presented by installing a gas - fixed fire suppression apparatus.

• Journal of the Korean Geophysical Society
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• v.7 no.1
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• pp.31-40
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• 2004

When surveying the cultural heritages especially in the case of stone structures, preserving their original state is of primary importance. For the effective assessment of survey results of stone structure, the dynamic characteristics of that system should be considered. Dynamic characteristics of stone masonry structures depend on several factors such as coefficients of friction, contact conditions, and number of layers of bonding stones. These factors can be estimated by using the dynamic analysis results. This paper describes a method for natural frequency determination of traditional stone arch bridge subjected to compressive force. For this purpose, multi-layered granite brick models of for arch bridge were made and fundamental frequencies corresponding increasing axial forces were measured.

• Korean Journal of Heritage: History & Science
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• v.49 no.1
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• pp.146-165
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• 2016

With the introduction of the system of recognizing masters of craft and performance skills in 1970, the principle of "preserving the original form," which was already in general use, was adopted as a legal principle in the Cultural Heritage Protection Act. While the concept "original form" can be related to tangible elements of heritage through the Act, the intangibility of craft and performance skills does not allow their pinpointing at a particular temporal period or the identification of a particular master from the past as the basis of an original form. Therefore, those craft or performance skills that are available at the point of recognition of relevant masters must serve as the basis of the original form for the intangible heritage concerned. This means that the principle of preserving the original form of intangible heritage has been implemented not based on a fundamental form of materiality, but rather on the craft or performance skills that may be held by a master at the time of his/her recognition as a "temporary original form." This principle has been observed through intangible heritage transmission and education policies for recognized masters and their trainees, contributing to establish an elitist transmission environment in which public were denied to join the education on intangible heritage. Even with policies guided by the principle of preserving the original form, designated craft and performance skills have been transformed contingent upon given social and environmental conditions, thus hindering the preservation of the original form. Despite the intrinsic limitations of the principle of preserving the original form when applied to intangible heritage, this principle has served as a practical guideline for protecting traditional Korean culture from external influences such as modernization and Westernization, and also as an ultimate goal for the safeguarding of intangible heritage, engendering actual policy effects. The Act on the Safeguarding and Promotion of Intangible Cultural Heritage that comes into effect in March 2016 takes the constantly evolving nature of intangible heritage into consideration and resultantly adopts a concept of "essential form" (jeonhyeong) in place of "original form" (wonhyeong). This new concept allows for any transformations that may take place in the environment surrounding the intangible heritage concerned, and is intended to mitigate the rigidity of the concept of "original form." However, it should be noted that "essential form," which is manifested as the unique significance, knowledge, and skills delivered by the intangible heritage concerned, should be maintained according to the guidelines and principles related to heritage conservation. Therefore, the new concept can be understood not as a rupture, but more as a continuum of the concept of "original form."

• Korean Journal of Heritage: History & Science
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• v.50 no.2
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• pp.26-39
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• 2017

Natural monument system was originally developed as an environmental movement and introduced in Korea during Japanese Colonization. Korea, Japan and Germany are the countries that have the natural monument systems. They are controlled by the Cultural Properties Protection Law in Korea and Japan but by the law of the protection of natural environment in Germany. For that reason the progress of the law and policy directions are similar between Japan and Korea. The natural monument system of Korea has been in use since 1930s, but the values and conditions of natural monument systems have changed over time. In terms of contents, these days cultural identity involved are getting more important than the natural scenic and ecological values, or rarity of plants. Also it's a trend to expand the preserved area around cultural properties which have been preserved on individual basis before. Finally it is necessary to discover and manage the registered cultural properties as potential designated cultural properties by creating the registration standard for natural heritage.

• 한국HCI학회:학술대회논문집
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• 2006.02a
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• pp.210-218
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• 2006

본 논문은 광주과학기술원(GIST)에서 개발하고 있는 전남지역 '운주사'의 천불천탑 설화를 근간으로 한 반응형 가상 문화 체험 시스템(Responsive Multimedia System for virtual storytelling)의 햅틱 변형 상호작용에 관한 것이다. 기존의 디지털 문화재 체험 시스템은 사실적인 체험을 제공하기 위해 시각 및 청각 기술 개발에 많은 연구 및 노력이 이루어져왔다. 그러나 최근 인간의 인지 체계의 중요 요소인 촉감 상호작용의 중요성이 증대 됨에 따라, 본 논문에서는 가상 문화재 체험을 위한 햅틱 변형 알고리즘 및 상호작용 시스템을 개발하여 가상 불상을 만져보고 그 표면을 변형시키게 함으로써 몰입감을 증대하고 재미를 주는 시스템을 제공하였다. 아울러 체험의 몰입감 증대를 위해 본 시스템은 시/청각과 더불어 청각 효과를 가미하여 체험 시 발생되는 주변 환경의 소리(새, 물, 바람소리)를 제공하고, 기존의 문화체험 시스템과의 차별성을 위해 3 차원 입력장치를 이용하여 체험자가 직접 가상 불상을 변형시키면서 체험자 고유의 작품을 만들어낼 수 있는 상호작용을 제공한다. 따라서 제안된 햅틱 변형 상호작용 시스템은 체험자의 능동적 참여 및 흥미 유발을 통하여 문화 유산에 대한 교육적 효과 및 관심 증대에 기여할 수 있을 것이라 여겨진다.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.40 no.2
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• pp.44-58
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• 2022

Bunhwangsa Temple, Baekryulsa Temple and Sambulsa Temple are not famous cultural heritage area, but they are visited by many tourists and are located in Gyeongju National Park and Gyeongju Historic Areas, so environmental and cultural preservations are required. The purpose of this study is to manage the unique environment and landscape of cultural assets by analysing the invasive alien plant of traditional temple of Gyeongju. The whole flora were summarized as 188 taxa including 73 families, 136 genera, 154 species, 3 subspecies, 11 varieties, 4 forms, 5 hybrids and 12 cultivars., and the landscape plants were 163 taxa and 38 taxa of the invasive alien plants. The 13 taxa of invasive alien plants were planted in three temples. The ecosystem disturbance species were 3 taxa including Rumex acetosella, Lactuca seriola and Symphyotrichum pilosum. Invasive alien plants have artificial causes such as landscape planting, but there are also those that are introduced naturally from outside. The parking lot of the temple is expected to be a major propagation path for invasive alien plants due to the large amount of interference and disturbance. Based on the results of this study, the management plans are suggested as follows. First, it is necessary to use native species suitable for the natural environment and traditional landscape of Korea for landscape planting of traditional temples, and development of planting guidelines centered on cultural properties is required. Second, it is necessary to refrain from planting invasive alien plants because traditional temples are located in an important environment and historically. Third, for the preservation of the temple environment, it is necessary to promptly remove the ecosystem disturbance species. Fourth, in order to express the landscape characteristics of traditional temples, a unique planting plan should be established in consideration of the location environment and historicity.

• (The) Research of the performance art and culture
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• no.36
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• pp.751-781
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• 2018

Task of circling the pagoda of Waljeongsa(Woljeongsa Tabdori) is the major intangible cultural heritage with representativeness and historical meaning as a Buddhism culture, one of the Buddhism folk plays, which was firstly played after the liberation. Woljeongsa Tabdori holds significant designation importance in terms of Buddhism folklore heritage with Korean unique tradition and identity of Gangwon-do province. Temples are demonstrating Tabdori nationwide but Woljeongsa Tabdori is the unique case that systematically inherits the culture based on the designation of being intangible cultural heritage. That is why it is needed to focus on the cultural and internal value of Woljeongsa Tabdori. Tabdori is the integrated symbol of Buddhism respect and worship to the Buddha and pagoda. It is hard to presume the originality of Woljeongsa Tabdori: given the history of Woljeonsa temple, it lies into Goguryeo traditional play and Bokhui(Pagoda circling folk play) in Silla era. It fits into the courtesy of Circumambulating Stupa considering Moon in Goguryo mural, background of Odaesan Hwaeom thought/tripitaka and essence of Octagonal 9-story stone pagoda. At the first stage of Tabdori, Buddhist musical instruments such as Buddhism temple bell, singing bowl, cloud-shaped gong and wooden-fish. However, later, Samhyeon Yukgak has been added and then, Boyeom and Bakpaljeongjinga were singing: it could be interpreted that it was a pure Buddhist ceremony but it has become to have traditional aspect and been spread to the public. The origin of Woljeongsa Tabdori is related to the explanation of Circumambulating Stupa that experiences the glory of the ending ceremony. When a temple has a rite, the Buddhists make an offering to the Buddha. At that time, Buddhist prayer, sermon and chant are followed. After the rite, the Buddhists are circling the pagoda with the monks while praying for Buddhist charity and making their own wishes. It prays not only going after death to Nirvana of the one but also national prosperity and the welfare of the people for peaceful reign. As the temple holds bigger rites, many Buddhists gather and the Tabdori was a success. The scene of circling the pagoda and making own wishes in line with the Buddhist sermon was solemn. The idea on changes and convergence of Woljeongsa Tabdori requires strategic inheritance to promote the transmission while maintaining the paragon and purpose of designating the cultural heritage and reviving its identity. Korean Tabdori was held in Buddha's birthday in April and the mid-autumn day. Tabdori is a memorial service type Buddhist ceremony that once the monk holds the Buddhist rosary, circles the pagoda and sings the great mind and charity of the Buddha, Buddhists follow the step, lighting the lantern, circling the pagoda and praying for the gentle and easy death. Transmission education of the successor, diversified approach of the expert's advice and discourse on the revival of the origin should be reinforced in phases.

• Korean Journal of Heritage: History & Science
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• v.53 no.4
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• pp.188-197
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• 2020

Termites play an important role as decomposers of the forest ecosystem, while simultaneously causing enormous damage to wooden structures. Currently, two species of subterranean termites have been reported in Korea, and termite damage to historical wooden buildings is occurring nationwide due to climate change, forest fertility, and the locational characteristics of historical wooden buildings. Subterranean termites make their nests underground or inside timber. Termites move underground and access wooden structures through the lower parts of the buildings, adjacent to the ground. Once termites attack the wooden structures, it not only spoils the authenticity of cultural heritage structure, but also hampers structural stability due to the decrease in the strength of the material. Therefore, it is important to prevent termite damage before it occurs. Chemical treatments are mainly used in Korea to control and prevent the damage. In foreign countries, physical barriers are also used to prevent entry to wooden buildings, along with chemical treatments. Physical barriers involve installing nets or particles that termites cannot pass through in the lower part of the building, around the pipes, and between the edges of the building or exterior walls and interior materials. Advantages of a physical barrier are that it is an eco-friendly method, maintains long-term effect after installation, and does not require the use of chemical treatments. Prior to applying physical barriers, studies into the characteristics of termite species must be undertaken. In this study, we evaluated the minimum passage size that each caste of Reticulitermes speratus kyushuensis can move through. We found that workers, soldiers, and secondary reproductive termites were able to pass through diameters of 0.7mm, 0.9mm, and 1.1mm respectively. Head height of termites was an important factor in determining the minimum passing size. Results from the current study will be used as a basis to design the mesh size for physical barriers to prevent damage by termites in historical wooden buildings in Korea.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.40 no.4
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• pp.15-31
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• 2022

This study interpreted the logical validity of the landscape restoration and maintenance patterns of Changgyeonggung Palace, where modern landscapes coexist. The results of the study are as follows; First, the changes in the landscape restoration and maintenance attitude concerning the Changgyeonggung management organization were identified. With the establishment of the Office of the Imperial Garden, an imperial property was nationalized. The Cultural Heritage Managing Department was opened in 1961, and Changgyeonggung Palace were preserved as designated as historical sites in 1963. An environmental purification was implemented by the Changgyeonggung Office as a follow-up measure for restoration in 1983. As the Cultural Heritage Administration promoted in 1999 and the Royal Palaces and Tombs Center was established in 2019, the palace has been managed professionally as a palace landscape to provide a viewing environment. Second, In the 'Purification Period of Changgyeongwon(1954~1977)', environmental purification was carried out to restore amusement facilities, install facilities for cherry blossom viewing, and develop the place into a national zoo. In the 'Reconstruction Period of Changgyeonggung(1983~1986)', restoring function as an urban park, reserving green areas, the outside space was recreated in the traditional feel, and the forest area was generally maintained. In the 'Supplementation Period of Traditional Landscape Architecture Space(1987~2009)', a uniform green landscape was created with pine trees and various vegetation landscapes centered on the flower beds. In the 'Improvement and Maintenance Period of Viewing Environment(2010~2022), a master plan was reestablished on the premise of utilization, but maintenance has been carried out in a small scale centering on unit space. Third, regarding the validity of the landscape restoration and maintenance, It was found in terms of 'originality' that the recovery of the palace system has not been expanded for over 40 years in existing areas. The 'characteristics of the times', which shows whether multi-layered history was taken into account, Changgyeongwon was excluded from the discussion in the process of setting the base year twice. In terms of 'integrity,' the area of the Grand Greenhouse where the historic states coexists needs a maintenance policy that binds the greenhouse, carpet flower bed, and Chundangji Pond. The 'utility' identified as the utilization of spaces suggests the establishment of a sense of place in the Grand Greenhouse area, which is concentrated with programs different from other areas.

• Korean Journal of Heritage: History & Science
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• v.55 no.1
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• pp.133-150
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• 2022

Calling the 21th century the age of 'cultural competition' is not an overstatement. In an era of globalization, we try to find the 'identity of our country' in our culture. 'Culture' is the unique ethnicity of the people of each country that reflects the traces of their lives. As the world is transforming into a multi-dimensional place, traditional patterns in reference to cultural uniqueness and original formativeness are the brands that represent the people. France's luxury brand, GOYARD's Y-shaped pattern naturally made during the persistent traditional handmade process is still France's representative corporate brand and is considered prestigious even after 150 years have passed. On the other hand, in low-income countries, patterns created in the natural process of weaving fabrics are succeeded as a unique cultural aesthetic and are loved by people all over the world. Like this, people living in the global multi-dimensional world look to attain the framework 'One Planet Perspective' which is to succeed their own native culture and preserve the unique culture of others. For example, in the process of international relief organizations delivering relief supplies to Columbia's "Wayu tribe" due to the water shortage in 2013, a handmade product, "Mochila Bag" was discovered. Triggered by this incident, Europe and Korea decide to import it to support the livelihood of the "Wayu tribe." Also, the aesthetic and cultural values of the traditional culture in minority tribes that have evolved through thousands of years have been listed on UNESCO and preserved worldwide. Likewise, culture doesn't suddenly appear overnight, but rather the brand representing the company is the pattern used in the trend of the era kept for over 100 years. Moreover, patterns that reflect the country's identity are inherited as the unique aesthetic of the culture. Our country does inherit the unique aesthetic of our culture, but doesn't have a 'strong image' that displays the practical value reinterpreted creatively and aesthetically to fit the modern trend. Traditional patterns are important in perspective of study and theoretical research, but the brand's image using those patterns is a new medium from the past existence continuing to the current tradition. Furthermore, this study suggests that the image of a company that uses traditional patterns will have high economical potential as a national brand.