• Journal of the Korean association of regional geographers
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• v.8 no.2
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• pp.170-183
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• 2002

Recently it is supposed to be a shift to regional geography. To understand the emergence of the new regional geography, It must be remarked that the progress of capitalist production and consumption change our conceptional apparatus such as representation of space. Region is one of the important mode of representations of space and time. In the Fordist capitalism of 20th century, development is regarded as diffusion of capitalist expansion of western worlds. State must support capitalist growth through regional policies which include constructing of infrastructure and regionalization of spatial division of labour. The regional development theories contributed as ideology and policy tools for state intervention. The region was simply one of the most logical classification tools of organizing geographical informations. In the theories of regional development, the concept of region was reduced to the formal unit of classification. As the transition from Fordism to flexible accumulation, the region is again acquiring its 'identity' and 'authenticity'. In this tendency of the revival of region, it is expected that good achievement could be made in the field of regional geography through relevant research methods. It is also believed one of the available means are historical approaches to the cultural and ecological regions. The historical approaches to cultural and ecological regions are not only correspondent with cultural development strategies of local governments, but also could convey regional identities through both narrativization of place and aestheticization of landscape.

• 한국HCI학회:학술대회논문집
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• 2008.02b
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• pp.492-500
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• 2008

This research was conducted in an attempt to understand human lifestyles in on-line game world. Q methodology was used to investigate players in Mabinogi, which is an on-line game(MMORPG). Based on 82 behavior statements, 6 types of on-line game lifestyle were found : Self -Enhancer, Self -Expressionist, Relation-Oriented, Isolation -Antisocial, Social Contributor, and Self-Interest. The behavior patterns of the 6 types were then compared to identify similarities and differences amongst them in psychological meanings and values in the on-line game life. The results showed that the lifestyles in on-line game world encompass both the reflection of the lifestyles in the real world and also the creation of new life patterns that players desire. The process of developing lifestyles in the online game world illustrates the emergence and evolution of human life on new social environment which is established by digital technology. On-line game world can be defined as new life space in which people is able to create new identity and new culture.

• The Journal of the Convergence on Culture Technology
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• v.5 no.3
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• pp.101-106
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• 2019

This paper considers the historicity and aesthetical implications of in the art world of Paul Ryan(1943-2013) who designed the aestheticization of relational circuit of society by realizing the value of social transformation being inherent in video with cultural practices and suggesting the interdisciplinary method of leaning and research in the early video art history. To do this, in Chapter II, I review the first artwork presented firstly in the art gallery exhibition "TV as a Creative Medium" in 1969, in which Ryan proposed a video medium as a communication system and experimented the concept of 'feedback' in Cybernetics. And Chapter III focuses Ryan's discursive activities contributed to magazine Radical Software and artist-collective Raindance Corporation with growing interest in communication technology. At this time, Ryan regarded video medium as the tool for cybernetic expansion. Finally Chapter IV deals with the development of ecological method based on "a shared perception of environmental realities" and verifies Ryan's vision that video medium would be most effective means of social change and communication.

• Korean Journal of Environment and Ecology
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• v.27 no.5
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• pp.625-641
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• 2013

This study is analyzed the environmental ecological status of Suncheon Bay and its applicable possibility to the selection criteria of UNESCO World Natural Heritage (hereafter Criteria). The study shows that the formation process of the tidal-flats in Suncheon bay could apply to the Criteria VIII, "to be outstanding examples representing major stages of earth's history." The landscape pattern of Suncheon Bay is deduced various patterns based on 5 biotope types: tidal-flat, rice-paddy, field area, coniferous natural forest, and broadleaf natural forest. Its landscape characteristic is a harmonized composition of various landscape including mountains, rivers, fields, and tidal-flats. It is judged that the unique landscape of Suncheon Bay falls under the criteria VII, "areas of exceptional natural beauty and aesthetic importance." In addition, Suncheon Bay, the habitat of the Hooded Crane as internationally endangered species, comes under the criteria X, "the most important and significant natural habitats for in-situ conservation of threatened species." The study shows, however, that any other designation for protected area including national park or biosphere reserve is a prerequisite for designation of World Nature Heritage. In particular, it could evaluate whether it is qualified of the Criteria after the integrated conservation and management to the Sucheon bay as well as the southwestern tidal-flat is preceded.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.19 no.11
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• pp.191-204
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• 2018

In the era of diversity and creativity, autonomous regional regeneration is being emphasized. Local regeneration effects through local heritage utilization and the value of regional properties are rising. It is very meaningful to find a way to revitalize the urban regeneration system that can transform the facilities, spaces and industries in underdeveloped regions into opportune properties. This study explores the possibility of self-sustaining development by establishing an endogenous self-reliance system through the localization of industrial heritage. Competitive advantage strategies of regional properties are more important than regional comparative advantages. In the future, more attention should be paid to the intangible value of the city. A genuine city revival should be created as a place with cultural identity through artistic ecology, tradition, community, and aesthetics centering on people.

• Korean Journal of Heritage: History & Science
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• v.46 no.4
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• pp.48-63
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• 2013

The results of the study on the space planning and landscape design of Unjoru(雲鳥樓) through the 'Jeolla Gurye Omidong Gado(全羅求禮五美洞家圖)' drawn using GyeHwa(界畵) technique are as follows. First, 'Omidong Gado' is believed to date back to the period when Unjoru(1776~1783) was established for the following reasons: (1) The founder, Yoo-IJu(柳爾?), sent the drawing for the house while he was serving as the governor of YongCheon county(龍川府史). (2) It shows the typical dwelling houses' space division and its location is in a good spot with mountain in the back and water in front(背山臨水) and there is every indication of scheme drawing. (3) Front gate was changed and remodeled to a lofty gate in 1804. Second, Nogodan & Hyeongjebong of Jiri Mountain sit at the back of Unjoru, and faces Obong mountain and Gyejok mountain. In addition, the Dongbang stream flowing to the east well illustrates the Pungsu theory of mountain in the back and water in the front. Third, the house is structured in the shape resembling the character 品, divided into 5 areas by hierarchical order in the cross line from all directions. The site, which includes the outdoor yard and the back garden, consists of 5 blocks, 6 yards and 2 gardens. Fourth, the outdoor yard with aesthetical value and anti-fire function, is an ecological garden influenced by Confucianism and Taoism with a pond (BangJiWonDo Type, 方池圓島形) at the center. Fifth, the Sarang yard(舍廊庭) is decorated with terrace garden and flower garden, and the landscaping components such as oddly shaped stone, crane, plum, pine tree, tamarisk tree and flowering plants were used to depict the ideal fairy land and centrally placed tree for metaphysical symbolism. The upper floor of Sarangchae commands distant and medium range view, as well as upwards and downwards. The natural landscape intrudes inside, and at the same time, connects with the outside. Sixth, pine forest over the northern wall and the intentionally developed low hill are one of the traditional landscaping techniques that promotes pleasant residential environment as well as the aesthetics of balanced fullness.

• Journal of the Korea Convergence Society
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• v.11 no.11
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• pp.135-145
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• 2020

In the era of the fourth industrial revolution, design has developed into a fusion of diversified culture and media. The integration of traditional culture and brand design concepts has become a hot research topic. Chinese Zen thought integrates the thoughts of Laozi and Zhuangzi, and takes" Wu Xiang as the appearance, Wu Nian as the foundation, Wu Zhu as the purpose" as the main purpose to construct a unique Zen thought system that integrates Taoism, Confucian philosophy and aesthetics. From this point of view, the MUJI design that combines Chinese Zen thought and design has attracted much attention. As a traditional culture, how is Chinese Zen Thought reflected in the design of MUJI? Starting from the awareness of this question, this study takes the daily necessities of MUJI as an example to investigate the design features of MUJI that reflect Chinese Zen thought. The conclusion shows that the design features of MUJI with Chinese Zen thoughts are showed in four ways-minimalist style, unitary color, ecological material, and humanized experience.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.2
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• pp.81-89
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• 2011

The results of tracking the symbolism of plants in the introduction factors of Sokhwa(folk painting) are as the following. 1. The term Sokhwa(俗畵) is not only a type of painting with a strong local customs, but also carries a symbolic meaning and was discovered in "Donggukisanggukjip" of Lee, Gyu-Bo(1268~1241) in the Goryo era as well as the various usage in the "Sok Dongmunseon" in the early Chosun era, "Sasukjaejip" of Gang, Hee-mang(1424~1483), "Ilseongrok(1786)" in the late Chosun era, "Jajeo(自著)" of Yoo, Han-joon(1732~1811), and "Ojuyeonmunjangjeonsango(五洲衍文長箋散稿)" of Lee, Gyu-gyung(1788~?). Especially, according to the Jebyungjoksokhwa allegation〈題屛簇俗畵辯證說〉in the Seohwa of the Insa Edition of Ojuyeonmunjangjeonsango, there is a record that the "people called them Sokhwa." 2. Contemporarily, the Korean Sokhwa underwent the prehistoric age that primitively reflected the natural perspective on agricultural culture, the period of Three States that expressed the philosophy of the eternal spirits and reflected the view on the universe in colored pictures, the Goryo Era that religiously expressed the abstract shapes and supernatural patterns in spacein symbolism, and the Chosun Era that established the traditional Korean identity of natural perspective, aesthetic values and symbolism in a complex integration in the popular culture over time. 3. The materials that were analyzed in 1,009 pieces of Korean Sokhwa showed 35 species of plants, 37 species of animals, 6 types of natural objects and other 5 types with a total of 83 types. 4. The shape aesthetics according to the aesthetic analysis of the plants in Sokhwa reflect the primitive world view of Yin/yang and the Five Elements in the peony paintings and dynamic refinement and biological harmonies in the maehwado; the composition aesthetics show complex multi-perspective composition with a strong noteworthiness in the bookshelf paintings, a strong contrast of colors with reverse perspective drawing in the battlefield paintings, and the symmetric beauty of simple orderly patterns in nature and artificial objects with straight and oblique lines are shown in the leisurely reading paintings. In terms of color aesthetics, the five colors of directions - east, west, south, north and the center - or the five basic colors - red, blue, yellow, white and black - are often utilized in ritual or religious manners or symbolically substitute the relative relationships with natural laws. 5. The introduction methods in the Korean Sokhwa exceed the simple imitation of the natural shapes and have been sublimated to the symbolism that is related to nature based on the colloquial artistic characteristics with the suspicion of the essence in the universe. Therefore, the symbolism of the plants and animals in the Korean Sokhwas is a symbolic recognition system, not a scientific recognition system with a free and unique expression with a complex interaction among religious, philosophical, ecological and ideological aspects, as a identity of the group culture of Koreans where the past and the future coexist in the present. This is why the Koran Sokhwa or the folk paintings can be called a cultural identity and can also be interpreted as a natural and folk meaningful scenic factor that has naturally integrated into our cultural lifestyle. However, the Sokhwa(folk paintings) that had been closely related to our lifestyle drastically lost its meaning and emotions through the transitions over time. As the living lifestyle predominantly became the apartment culture and in the historical situations where the confusion of the identity has deepened, the aesthetic and the symbolic values of the Sokhwa folk paintings have the appropriateness to be transmitted as the symbolic assets that protect our spiritual affluence and establish our identity.

• Journal of the Korean Institute of Landscape Architecture
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• v.37 no.2
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• pp.78-89
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• 2009

The purpose of this study is to build fundamental data for the classification of landscape type as a base for landscape planning and management practices. To do this, prior dissertations and landscape plan reports were analyzed, which presented the classification criteria for landscape type. Based on this, classification criteria for landscape type which could be usable in zoning ordinances has been suggested. The result is as follows: Firstly, in landscape analysis and assessment study based on ecological and formal aesthetic models, landscape type is classified by the character of the landscape element. Secondly, there is no logical classification of landscapetype in urban landscape planning according to mixed use of landscape type for analysis and planning. It is therefore difficult to identify the object of landscape planning, which is intimately linked with the shortage of concrete practice for landscape management. In connection with this issue, classification criteria for landscape type are suggested based on utility in landscape planning. This could be divided into internal criteria and external criteria. The former are land-use, topographical characteristics, characteristics of the view object, and landscape elements while the latter are viewpoint, distance to view object, and urban form. Applying the landscape type classified by the criteria suggested in this paper, it is possible to manage an entire urban area. In addition, landscape type could be reference data for operating a zoning system.

• The Journal of Art Theory & Practice
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• no.10
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• pp.47-61
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• 2010

What is Art on the street? Is it a series of artworks or activities performed on the street? In other words, does "art on the street" refer to "Street Art" such as street performance, happening, graffiti, or wall-painting, or does it refer to "Street Furniture" which is related to "City Design" or "Environmental Design"? In a formal sense, they all belong to Art on the street. However, in this paper, I would like to use Art on the street in an even broader sense. To me, " the street" is a metaphor of "environment." Thus Art on the street is the art related to environment; it is an environment art. Art on the street attests the expansion of the concept of art and shows a new possibility of contemporary art. It is a promising new concept of art, but we cannot ignore the misapplication of the concept that we can find at the crossroad of Art on the street and "city beautification." Of course, Art on the street can and sometimes needs to beautify the city. However we still need to ask how to contribute to the city beautification with Art on the street and how to validate such a practice. City space is, most of all, a space that people live in. It sounds a cliche, but it is worth repeating to better understand Art on the street. When we consider the city space in terms of its system or organization, we often overlook that it is the space in which people live, and which people create. Art on the street concerns not the city itself, but the space in which people live and make relations for each other. Without taking this into account, Art on the street becomes a mere means to' embellish' the city and falls prey to the logic of capital. In this paper, I critically reviewed the problems such as City Development, Spectacularization, City Environmental Design, Public Interest and City Museum. I intended to emphasize that Art on the street is produced in the cultural space of city, but it also tends to break the mold of the cultural space and seeks a new possibility. Some might argue that my claims are unrealistic because Art on the street is not an idea but a practice. While humbly accepting the objection, I hope my critical suggestions guide a more productive direction to continue our discussions of Art on the street.