• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.4
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• pp.32-43
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• 2012

Hangzhou, in China, is a city that has a history as long as 2,300 years and is renowned due to its natural scenery of a beautiful lake surrounded by gentle green hills. This world wide famous scenery, known as West Lake(西湖), in 2011, was included in the World Heritage Landscape List. Though this place experienced enormous development and changes during thousands of years, historic sceneries did not disappear with the passage of time. In contrary, they are refined and increased attributing to protection efforts from past dynasties. Therefore, research in landscape transition is significant for building livable environment and preserving historical landscape. This paper mainly focuses on history transition of city Hangzhou. First of all, its urban construction and guiding ideology is analyzed. Then, deep meticulous research is carried out on development and preservation achievements for dynasty Tang, Song, Yuan, Ming and Qing. In the end, from a historical point of view, this paper will provide a new perspective which would contribute to sustainable preservation of historical landscape. From the Song Dynasty to the Qing Dynasty, the West Lake through several times of the rectification and construction, the present landscape was completed during thousand years several times through the construction.

• The Journal of the Korea Contents Association
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• v.19 no.9
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• pp.521-534
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• 2019

From the day of luxurious inland river cruise ship started in Chongqing, China, the controversy is continuous; some people think those luxurious cruise ships on inland river might reduce the experience to enjoy the scenery of the Three Gorges, while some people think, which could improve the experience. In the study, the service facilities provided by luxurious inland river cruise ship will be evaluated by Pre-Post comparison based on IPA methods. After a review of the service facilities provided by luxurious inland river cruise ship running on Three Gorges areas. The tourists who would take the trip were asked to fill an questionnaire to examine the desired service facilities performance, which represents the highest level of the service facilities of the cruise ship that is expected by customers. After the trip, they were asked again to fill another questionnaire to examine the importance of service facilities and the performance of service. Pre-Post comparison would be examined to tell whether there is any change between pre and post experience. IPA would be used to evaluate the service facilities provided by inland river cruise ship. At last, some strategic suggestions to the development of inland river cruise ship are made.

• The Journal of the Convergence on Culture Technology
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• v.7 no.4
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• pp.195-202
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• 2021

We examines the aspect of dramas delivering Korean culture and literature to the public in the 1950s through the drama (2004). This drama focuses on Myeong-dong and views society and literature in the 1950s. This drama not only introduces ordinary people to viewers realistically, but also helps viewers understand by inserting interviews with researchers. In addition, through the gaze of poet Lee Bong-gu, they connect their literature with different literary people to obtain narrative completeness while helping viewers understand the inner side of the literary people. At the end of the drama, Lee Bong-gu's voice is a meaningful riverside for future evaluations, and it means the result of overcoming the pain of the 1950s with a romantic atmosphere and literary passion. Therefore, the drama "The Count of Myeongdong" is a meaningful text that delivered the literature and cultural landscape of the 1950s to viewers in a popular and sincere manner through the video.

• The Journal of the Convergence on Culture Technology
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• v.7 no.4
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• pp.325-330
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• 2021

This study set out to investigate the forms, attributes, and escape methods of post-subjects projected on the investigator's works in connection with rhizomatic thinking proposed as a way of social transformation by Deleuze and Guattari and examine their social connotations. Post-subjects projected on the investigator's works are not completed wholes of some sort, but like materials whose constant premise is change and creation. In the investigator's works, post-subjects have conscious and unconscious desire. It is the desire of creation with positive attributes including Deleuze's and Guattari's pursuit of changes in a contradicting society. When desire is deployed in post-subjects, they will carry out an escape. This way of escape is rhizomatic proposed by Deleuze and Guattari. It deconstructs contradicting things and repeats connection, contact, and severance with the outside world, building a new order. Rhizomatic post-subjects appearing in the investigator's works depict the escape process and method in abstract ways through the variable installation of objets combined with a color field of repeating brushes. In this work, the goal of post-subjects is to make a safe landing in a space where beings are recognized for their values and free and creative lives. These post-subjects are nomads creating a new landscape continuously, wandering around vast plains, and also artists and literary figures resisting a contradicting society. That is, they are connected to the concept of a war machine proposed by Deleuze and Guattari as a concept of social transformation and to the concept of Nietzsche's Agon to devise and create new values and politics based on street passion. They seek after a space where they can co-exist with otherness recognized rather than the complete deconstruction of the old order.

• The Journal of the Convergence on Culture Technology
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• v.10 no.4
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• pp.209-216
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• 2024

This study examines the drama "Still in Marronnier Park"(2005) to examine the strategies by which the drama communicates Korean society and literature of the 1960s to the public. The drama focuses on three characters to characterize the historical upheavals of the 1960s and the literary response. In particular, the drama tackles the historical events of the time head-on by introducing characters who are real-life politicians. Therefore, the drama explains historical events through narrators, interviews, and video footage, and at the same time, it helps us understand how political and social events affected the inner lives of Koreans. Through the narratives of Kim Ji-ha and Kim Seung-ok, the drama also conveys how Korean literature responded to unjust realities in the political and social context of the 1960s. Kim Ji-ha's rebellion against those in power and Kim Seung-ok's depiction of her inner landscape are used to portray the response of literature to political reality. Although the drama has the limitation of being somewhat typical, it raises meaningful questions about the meaning of literature in the political and social context of the 1960s and how the memory of the 1960s has left a trace in the minds of Koreans.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.3
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• pp.32-45
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• 2014

The study attempts to interpret original location and landscape composition of Yowol-pavilion Garden under the premise that tablet and poetry are important criteria for inference of unique location and landscape composition of a pavilion garden. The study raises the meaning, status, and value of Yowol Pavilion Garden as a cultural asset. The results of the study are as follows. First, Yowol-pavilion Garden was a place where famous Confucius scholars in Joseon Dynasty in 16th Century, including Kim, Kyung-Woo, the owner of the garden, used to share the taste for the arts and poetries with their colleagues. Along with a main characteristic of Yowol Pavilion Garden as a hideout for the Confucius scholars who stayed away from a political turmoil, the new place characteristic of the garden, a bridgehead for the formation of regional identity, was discovered in the record of "Joseon-Hwanyeo-Seungram Honam-Eupji JangSeong-Eupji", As described in "The first creative poetry of Yowol-pavilion", the intention for the creation of Yowol-pavilion Garden and the motive for its landscape composition is interpreted as a space of rivalry where the world, reality and ideals are mixed up. Second, related to outstanding scenic factors and natural phenomena when taking a view from the pavilion, the name of the house 'Yowol', which means 'Greeting the moon rising on the Mt. Wolbong' is the provision of nature and taste for the arts, and is directly connected to the image of leaving the worldly. In other words, the name was identified to be the one that reflected the intention for landscape composition to follow the provision of nature separating from joy and sorrow of the mundane world. Third, as for the location, it was confirmed through "YeongGwang-Soksu-Yeoji-Seungram" that Yowol-pavilion Garden was a place where the person who made the pavilion prepared for relaxation after stepping down from a government post, and literature and various poetry show that it was also a place of outstanding scenic where Yellow-dragon River meandered facing Mt. Wolbong. Especially, according to an interview with a keeper, the visual perception frequency of the nightscape of Yowol-pavilion Garden is the highest when viewing by considering the east, the direction of Yellow-dragon River, as Suksigak[normal angle's view], towards Yowel-pavilion from the keeper's house. In addition, he said that the most beautiful landscape with high perception strength is when the moon came up from the left side of Yowol-pavilion, cuts across the Lagerstroemia india heal in front of Yowol-pavilion, and crosses the meridian between Mt. Wolbong peaks facing Yowol-pavilion. Currently, the exposure of Yowol-pavilion Garden is $SE\;141.2^{\circ}$, which is almost facing southeast. It is assumed that the exposure of Yowol-pavilion Garden was determined considering the optimized direction for appreciating the trace of the moon and the intention of securing the visibility as well as topographic conditions. Furthermore, it is presumed that the exposure of Yowol-pavilion Garden was determined so that the moon is reflected on the water of Yellow-dragon River and the moon and its reflection form a symmetry. Fourth, currently, Yowol-pavilion Garden is divided into 'inner garden sphere' composed of Yowol-pavilion, meeting place of the clan and administration building, and 'outer garden sphere' which is inclusive of entrance space, Crape Myrtle Community Garden and Pine Tree Forest in the back. Further, Yowol-pavilion Garden has been deteriorated as the edge was expanded to 'Small lake[Yong-so] and Gardens of aquatic plants sphere' and recently-created 'Yellow-dragon Pavilion and park sphere'. Fifth, at the time it was first made, Yowol-pavilion Garden was borderless gardens consisting of mountains and water taking a method of occupying a specific space of nearby nature centering around pavilion by embracing landscape viewed from the pavilion, but interpreted current complex landscapes are identified to be entirely different from landscapes of the original due to 'Different Changes', 'Fragmentation' and 'Apart piece' in many parts. Lastly, considering that Yowol-pavilion Garden belongs to the Cultural Properties Protection Zone, though not the restoration to the landscapes of the original described in tablet and literature record, at least taking a measure from the aspect of land use for minimizing adverse effect on landscape and visual damage is required.

• Journal of the Korean Institute of Landscape Architecture
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• v.42 no.5
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• pp.134-147
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• 2014

Pleasure grounds, which were introduced during the Japanese colonial era, were places for organizing new amusement activities, and developed into a large-scale private spaces and a new type of public space at the same time. This study explores the scenery and accommodations of pleasure grounds and the changes of the amusement culture through the Wolmido Pleasure Grounds, which was a typical pleasure grounds of the time. At that time, Wolmido became a comprehensive amusement/entertainment place with many elements of both Western and Japanese pleasure grounds such as exotic buildings harmonized with trees, a beach, a seaside school, public playing field, and zoo constructed on the Island. Wolmido Pleasure Ground, which was connected with Kyungsung by Kyungin railroad during the Japanese colonial era, is a good example showing the process of the popularization and commercialization of the amusement culture. The process of popularization of amusement shows the spreading of the enjoyment of leisure time with amusement activities through appreciating the beautiful scenery of the pleasure grounds among various social classes. The caste system was broken and anyone could use the pleasure grounds by paying the fee, of which there were many kinds, so the distinction between genders and the different classes, such as the Chosun people and Japanese, regarding amusement in pleasure grounds disappeared gradually. Also, pleasure grounds were a place for Western hobby-sports activities and were the means to generalize collective and dynamic activities through summer school and various sport games. At the same time, there were places for deviation from the existing social norms when it was combined with entertainment facilities. The commercialization of amusement took place in the form of an artificial entertainment culture within an artificial environment. First, the scenery was artificially constructed and this scenery created the image of paradise such as 'captivating summer vacation spot' and 'water kingdom'. This was the result of the combined intentions of the colonial authority, the railroad company and the amusement corporation to produce economic profits and encourage development in the area. Second, an artificial spectacle was constructed using nature as the backdrop. Buildings of various styles created a modernized and exotic image when they were combined with each other. Artifacts such as breakwaters and arcades created new attractions for people that enabled them to view both nature and the crowds from a whole different perspective. Third, pleasure grounds contributed to the advent of passive users who would just follow the given use and instructions. In this way, one can find the prototype of popular entertainment places of today such as sightseeing complexes, amusement parks, and theme parks through the construction of amusement grounds as a place for providing dynamic activities.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.4
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• pp.76-84
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• 2010

Darangyi paddy in Namhae Gachon village provides natural beauty with its distinct location. Darangyi is a traditional Korean landscape, shaping a circular form to serve continuous cultivation. Despite the paddy's landscape, it is difficult to preserve its natural scenery due to many factors such as inadequate visual analysis. Under the belief that there is a necessity to preserve Darangyi paddy, the research in visual features of the paddy began to illustrate the relevance between its viewpoint and landscape objects. First, we researched typical view structures. When considering the visual features, Darangyi paddy landscape objects has a viewpoint from the horizontality to its below, which its center area is about $-5^{\circ}{\sim}-30^{\circ}$. From the analyzed data, the scenary of Darangyi paddy, which most people agree its decency, is formed in a visually decent location. The above type of measure of visual structure in Darangyi paddy is expected to be applied in maintenance of foothold of views in the future. Second, the surrounding elements play important parts to form the whole landscape of Gachon Darangyi paddy. Although Darangyi paddy is the principal part of the scenary, the landscape analysis showed a high relevance with the paddy's identity, forest around the paddy, sky, ocean, settlements, and the roads in terms of visual perception. It was affirmed that those elements around the paddy play important parts in structuring and providing the beauty of the whole landscape. Various viewy objects are seen obvious especially in a long distance, and the splendid scenary proved that those viewy objects are in indispensable location. In order to preserve the paddy, it seems necessary to consider the surrounding envrionment of Darangyi paddy, not just the paddy's sole landscape form. Third, Darangyi paddy has a distinct seasonal characteristics. According to the survey analysis, the full heading time in spring and time when people can take a picture against the sun light proved magnificence of Darangyi paddy. Thus, it would be ideal to maintain Darangyi paddy by securing the sunlight condition with decent landscape view and the views from its surrounding environments or researching the ways to principally maintain the surrounding environments.

• The Journal of the Convergence on Culture Technology
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• v.7 no.3
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• pp.215-222
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• 2021

Duchamp chose readymades mainly for his denial of retinal painting and his desire and fluid thinking for changes inside him. His thinking is well presented in his readymade works. One of his early readymades, Bicycle Wheel, expresses correlations between beings and capital. Its essence is capital and the desire of beings. It is connected to Desire or Desire-Machine proposed as a social reform and creation model by Gilles Deleuze and Félix Guattari. Bicycle Wheel does not simply end in desire relations between capital and beings, though. When the desire of beings is converted into positive desire, it can keep inventing and creating something that is repetitive, fluid, and new. Duchamp tried to convey this positive desire through his readymade Fountain. Duchamp created a ready-made article toilet into a work of art in Fountain, being driven by desire flowing inside him. This is connected to the attributes of nomads that refused to settle down and continue to flow in search of new landscapes. This way of his thinking is clearly reflected in his Box in a Valise. He was motivated to create this work by his fluid thinking. In this work, various situations can unfold often according to the directions of two elements, place and arrangement. Here, place guarantees fluidity, and arrangement variability or desire. According to Gilles Deleuze and Félix Guattari, fluidity represents nomads with the characteristics of flow and variation, and desire represents productivity or production or creation. Box in a Valise represents nomads themselves. The nomads defined by Gilles Deleuze and Félix Guattari keep flowing and create a new world. They are in line with the thinking of Duchamp that refused to settle down at one place and escape from the old order to create a new artistic world. This type of nomads can be called revolutionists or creators that acknowledge differences and create. Nomads also contain the concept of resistance to the old order. Deleuze and Guattari proposed a war machine as a model of this resistance. Duchamp and his readymades can thus be called war machines.

• The Journal of the Convergence on Culture Technology
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• v.7 no.3
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• pp.187-195
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• 2021

Nam Nong Heo Geon(1908-1987) re-recognized and re-created the tradition of Korean Namjong painting by excluding Japanese art forms after liberation. He is a great painter in the Korean art world, who has succeeded and developed Korean Namjong Painting in a modern way, pioneering a new field of 'NewNamhwa' with a composition that fuses modern Western style and real scenery. Based on optimism, Namnong's painting world can be divided into three periods: the 'Namnong Sanin' period in the 1930s, the 'Namnongoesa' period from the mid-1940s to the early 1950s, and the 'the owner of Unlimsanbang' period after that. The Namnong Sanin period is a period in which the painting style handed down from the traditional namhwau family of Sochi and Misan is fully acquired, and the Japanese painting style for the exhibition in Seonjeon is reflected, and the local real scenery is treated a lot, and the two styles are mixed. In the Namnong-oesa period, after liberation, a new formativeness was explored in the traditional Namhwa style. In particular, based on the scenery and sentiments of the southern provinces, he focused on local and landscape paintings, depicting real landscapes with lyricism and local love, while expressing subjects with fast brush strokes, a worndown writing brush, and dry brushes, along with freehand adjustment of shading. The period of the owner of unlimsanbang is in accordance with the flow of modern art to some extent, but is gradually omitted as a composition full of academic fragrance that draws a meaning befitting traditional painting. I painted a lot of lyrical landscapes and pine trees of sumugdamchae. Namnong named it 'NewNamhwa'. Namnong established 'Namhwa Research Institute' and worked hard to nurture his disciples, where Im-in's son Heomun and Namnong's eldest grandson Heojin practiced, continuing the legacy of the 5th generation Unlimsanbang painter.