• The Journal of the Korea Contents Association
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• v.21 no.6
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• pp.445-455
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• 2021

Interest in the origin of the universe and man has historically been one of the central themes of human inquiry. The question of origin is not just a matter of intellectual curiosity, but a matter of human identity and an important matter of human destiny. The traditional model presented in relation to the origin of man is largely the Christian creationism that all things originated from the Creator, the evolutionary theory that everything happened by chance and evolved from lower to higher animals, and the agnosticism that we cannot know anything about the origin. This study deals with the theory of theistic evolution, a combination of creationism and evolutionism. It is argued that the theory of the evolutionary origin was not an immediate creation, although all things originated from God, but through creation through a long evolutionary process. The theory of theistic evolution was proposed by combining two conflicting theories of origin in a Christian way, which has several essential problems, but this study pointed out two. First, the God of the Bible is reduced to the image of being confined to the laws of nature, not the Almighty Creator. Second, by interpreting the events of the Bible symbolically, it results in rejection of historicity. Therefore, it is more rational to choose either evolutionism or creationism rather than the theory of theistic evolution.

• Journal of the Korean Institute of Landscape Architecture
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• v.49 no.1
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• pp.42-53
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• 2021

Street trees improve the cityscape and air quality, reduce heat islands, and create wildlife habitats. Hence, they are essential parts of a city's green infrastructure. Therefore, several trees that are well adapted to the urban environment were planted. However, this caused the problem of simple trees being planted around the world. This study is to select more various street trees. To accomplish this, evaluation criteria and detailed indexes were created. The importance was indicated through the Analytic Hierarchy Process. For commercial roads, the priority of landscape characteristics is 0.2640, and among detailed indicators, the priority of shape is 0.1245. For work roads, the priority of landscape characteristics is 0.2496, and among detailed indicators, the priority of shape is 0.1177. For work roads, the priority of characteristics of civil service is 0.2250, and among detailed indicators, the priority of shape is 0.1177. For general roads, the priority of maintenance characteristics is 0.2479, and among detailed indicators, the priority of shape is 0.1062. For historical and cultural roads, the priority of regional characteristics is 0.3488, and among detailed indicators, the priority of regional characteristics is 0.1643. For ecological roads, the priority of ecosystem characteristics is 0.3488, and among detailed indicators, the priority of the diversity of species is 0.1643. For automotive-only roads, the priority of the ecosystem characteristics is 0.4639, and among detailed indicators, the priority of reducing emissions is 0.1643. This study will provide objective criteria for the selection of street trees.

• Journal of the Korean earth science society
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• v.42 no.1
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• pp.88-101
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• 2021

The purpose of this study was to qualitatively examine the meaning of students' drawings in outdoor classes and modeling-based learning cycles. Ten students were observed in a gifted education center in Seoul. Under the theme of the Hantan River, three outdoor classes and three modeling activities were conducted. Data were collected to document all student activities during field trips and classroom modeling activities using simultaneous video and audio recording and observation notes made by the researcher and students. Please note it is unclear what this citation refers to. If it is the previous sentence it should be placed within that sentence's punctuation. Hatisaru (2020) Ddrawing typess were classified by modifying the representations in a learning context in geological field trips. We used deductive content analysis to describe the drawing characteristics, including students writing. The results suggest that students have symbolic images that consist of geologic concepts, visual images that describe topographical features, and affective images that express students' emotion domains. The characteristics were classified into explanation, generality, elaboration, evidence, coherence, and state-of-mind. The characteristics and drawing types are consecutive in the modeling-based learning cycle and reflect the students' positive attitude and cognitive scientific domain. Drawing is a useful tool for reflecting students' thoughts and opinions in both outdoor class and classroom modeling activities. This study provides implications for emphasizing the importance of drawing activities.

• Journal of the Korean Institute of Landscape Architecture
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• v.51 no.2
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• pp.81-93
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• 2023

The purpose of this study is to clarify the background of the plans and the spatial characteristics of the garden at the Anglo-Korean School, an educational institution established in Gaeseong in 1906 by Yun Chi-ho and the American Methodist Church. The time scope of the study is from 1906, when the school was opened, to the early 1920s, when the basic building structure of the school was completed. The spatial scope is the school complex, located in Gaeseong, and its affiliated facilities. The contents of the study include the planning background and purpose, spatial layout, and plants used in the school garden. This study reviewed Yun Ch'i-ho's papers and Warren A. Candler's papers at Emory University, documents, photos, and maps produced in the early 20th century. The results show that the school garden was first mentioned at the school's opening and that with a strong will, Yun Chi-ho insisted on establishing a school garden. The garden was located around the engineering department building and was divided into several sections and lots. Economic plants, such as fruit trees, comprised the garden and were sourced from the Methodist Church of the South, USA. This study reveals that the garden at the Anglo-Korean School functioned as a training ground for agriculture and horticulture education and was differentiated from Seowon, a traditional Korean academy that symbolically spaced Neo-Confucianism and that emphasized the views of the surrounding nature during the Joseon Dynasty.

• Journal of Korea Entertainment Industry Association
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• v.13 no.6
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• pp.123-133
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• 2019

Director Lee Chang-dong saying that the most important thing is to let the audience experience, find its meaning, interpret, and feel the pure sensation (whether it's image, sound or music) that the film has instead of narrative giving you the answers, through the film presenting the pure natural landscape as it is, but all the familiar things that can be taken as a riddle are conveyed in images, and all the elements that make up the film share its presence with each other and let us experience a mysterious weight of reality that cannot be defined through its strange symbolism and metaphors, and it reflects various human emotions, reflecting curiosity of reality, the words that are hardly spoken, meanings of life that we were not being aware of. Rather than having one definitive figure, through the character's personality expressing an imperfect character with a complex ambiguous behavior asks about the things that can't be explained logically and the fact of life that can't be divided into truth or lie. Also, the acting approaches emotionally and primitively rather than using artificial expressions, showing the invisible elements of emotions that are latent inside humans through temperate acting style, leads the audience to distant themselves and reflect more deeply into life. This study analyzed the characters and acting of the film based on director Lee Chang-dong's directing style.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.4
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• pp.52-64
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• 2015

This study was carried out investigation of characteristics palace gardens representing historical background, political and cultural identity in Korea, China, and Japan. It had been done a comparative analysis in formation, location and site layout, site composition, landscape elements and planning, landscape technique and vista for palace gardens in East asia's three countries. In order to process this study, Changdeokgung Palace in Korea, Summer Palace in China and Sento Imperial Palace in Japan were selected based on similar status. therefore it provide theoretical foundation to investigate the identity of palace gardens in three countries. Furthermore the study determined homogeneity(similarity) and heterogeneity(differentiation) of the characteristics between palace gardens in three countries through the in-depth comparative analysis in order to investigate identity of palace gardens in three countries and to present the value of Korean palace garden. Homogeneity and heterogeneity between palace gardens in three countries deducted from the study were summarized as follows; First, it shows indigenous style of Korean garden throughout adapting natural terrain without natural destruction. Second, various symbolic elements which ie reflected East asian ideologies present in the gardens. Chinese thoughts and technique were influenced in the development of palace garden in Korea and implemented in similar ways of China. Homogeneity of utilizing waterscape could be found in three countries. Lastly, Palace garden in Changdeokgung had played a role as cultural place with taste for the arts rather than representing authority of the throne. It appears to be similar in China and Japan. The reason how Korea, China and Japan established their own independent style is that each palace garden had been developed to embrace indigenous culture with introduced elements even though they were closely bound up with culture.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.1
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• pp.28-37
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• 2013

As a symbolic landscape of Seoul, Namsan has undergone not only physical changes but also changes in its human use and characteristics. At this point, research on Namsan, which holds diverse stories that have accumulated over a long period, as a cultural landscape is necessary. In particular, a concrete understanding of the characteristics of the mountain's use in the period of its initiation as a modern park is an important task in research on the history of urban parks. Consequently, the purpose of the present study lies in grasping the use of Namsan at the time of the establishment of Kyongsungbu Namsan Park Design Proposal in 1917 and examining the characteristics per space. The research process was based on the status of the park design plan. The primary source of information came from the analysis of historical newspaper articles. Additional materials including documents, old maps, photographs, postcard materials were also used. The period of the study was 1883 to 1917. This time was the initial period of Namsan Park soon after the opening up of Korea's ports to the world. The major spaces in which Namsan was used as a park encompassed Hanyang Park, Waeseongdae Park, Noin-jeong, Jangchung-dan, and remaining parts of Namsan in a natural state. When the main ways in which each space is used are examined based on the data analyzed, Namsan has been used for purposes including public events, accidents, religious worship, track and field days, field trips, and strolls. When the nature of each of the spaces is determined in terms of the characteristics of their use, these spaces were characterized as community parks, outdoor community spaces, indoor community spaces, sports arenas, and natural parks, among other things. The present study is significant in terms of research on the history of parks for confirming that Namsan in the initial period already served as a modern park for urban activities and grasping the specific urban activities that were engaged in on Namsan.

• Journal of Science of Art and Design
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• v.5
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• pp.175-216
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• 2003

시각이 아닌 오감체계에 관계하는 때문에 현대미술은 외관만으로 이루어지지 않는다. 곧 예술 작품들은 하나의 장소를 관객에게 제공하여, 심리적, 물리적, 또는 예술이 존재여부에 관한 갖가지 질문들을 제기한다. 모든 예술 작품은 메시지를 담고 있다. 이러한 관점에서 개념 또는 아이디어에 우선하는 현대미술은 그들의 메시지를 전달하기 위해 우리의 사회적 배경과 보편성을 간과할 수 없다. 우리의 물체 인식은 결국 우리의 경험체계를 통해서 이루어진다고 간주하면, 현대미술의 새로운 형태는 보편적 특질들이 그 특질들 이상의 상태로 보여지도록 유도한다. 이러한 창조 행위의 시작은 현대인간의 문화 읽기이며 문화는 인간과 자연의 긴밀한 관계 속에서 이루어진다. 역사는 지나간 시간을 기록한 것이며, 이 또한 우리의 지식과 정보 체계에 속한다. 회화가 평면에 입체감을 표현하는 것과는 달리 조각은 자연 속, 즉 실재공간 속에 있는 모든 것을 표현하기 때문에 시각(visible) 이외에도 촉각(tangible)이 관여하게 된다. 조각의 특수성은 촉각(tangible)이 우선하는 것이다. 그러나 시각과 촉각은 매우 적극적으로 미학적 경험에 참여하는 감각으로 이들을 서로 분리하여 생각하기가 무척 힘들다. 왜냐하면 어떤 경험에 있어서 기억연합 또는 감각 연합에 의해 하나의 감각이 다른 여러 감각을 촉발하여 연쇄반응 혹은 '형태 Gestalt'를 이루기 때문이다. 대부분의 근대 조각 작품들은 조각대 위에 고정되어 있는 구상 형태를 지녔기 때문에 조각작품 자체가 지닌 외적 형태와 그 자체내의 공간이 더욱 중요한 역할을 하게 된다. 말하자면 미로의 비너스 조각은 대리석과 비너스 형태의 결합이다. 때문에 관객은 그 주변을 돌면서 우리 신체의 내적 공간과 시각에 의존하면서 그 작품의 중량감, 양감, 형태 등의 특질과 만나게 된다. 그러나 현대 추상조각과 개념조각은 이보다 좀 더 확장된 공간을 제시한다. 이것은 현대조각이 건축개념을 수용한 때문이며, 그것이 때로는 안 쪽에서 때로는 바깥 쪽에서 그 형태를 결정하며, 보고 듣고 느끼고 만져지고 왕래하는 등의 인식 영역인 관객의 오감체계에 직접적으로 관계하기 때문이다. 우리는 건축 공간에서, 시각 외에도 청각이나 촉각을 통해 지각한다. 대강 요약하자면 공간은 객관적 상태이기보다는 인식영역의 주관성을 통해 받아들여진 우리가 지나쳐온 것들이나 체험된 공간이다. 여기서 '받아들여지는' 일은 과거 경험들의 주체들, 언어와 문화에 의해서 이루어져야 한다. 건물, 즉 둘러싸고 있는 공간은 중앙이 아니다. 중앙은 바로 나, 둘러싸여진 나이다 나는 나의 동작에 따라 그 공간의 시스템을 변화시킬 수 있는 유동적인 중심이다 (이때의 나는 위치의 축을 변화시키는 것이 아니라, 그들을 탐색하는 것이다). 작품이 대형화되면서 이러한 건축공간개념이 현대 조각가들의 작품개념에 이용되었다고 본다. 현대미술에서 In situ작업과 특정한 장소를 위한 기획되어진 최근의 프로젝트 작업들은 대형화되어있으며, 건축에서처럼 특정한 장소를 만들어낸다. 로잘린드 크라우스(Rosalind Krauss)는 또한 '조각영역의 확장 (La sculpture dans le champ elargi)'에서 현대조각이 건축과 환경의 영역을 침범하고 있음을 지적한다. 그녀에 의하면, 1960년대 이후의 현대조각은 이러한 탈 귀속성과 조각의 자율성을 획득함으로써 조각은 건축물이 아니면서 건축물 주변에 위치하거나 풍경이 아니면서 풍경 안에 자리잡게 되었다. 이와 같이 현대의 대형조각 작품들 - 예를 들어 대형화된 미니별 조각이나 개념미술, 또는 대지예술 등 -은 풍경의 실재가 아니기 때문에 환경으로부터 구분된다고 언급하고 있다. 이들 조각은 더 이상 만져지는 실체이거나 점유하는 공간의 상징언어를 지닌 조각의 범주에 한정되지 않게 된다. 조각과 건축의 공간인식을 인체의 크기와 관련하여 보면, 메를로 퐁티(Merleau-Ponty)의 '지각의 현상학' 은 우리가 논하는 작품의 공간체계를 분석하는데 지침표가 되어준다. 메를로 퐁티가 말하는 지각은 정신에 의해서만 이루어지는 것이 아니며, 몸과 함께 이루어지는 현상이다. 지각은 우리가 부단히 눈을 움직이고 만지고 냄새를 맡고 주변을 돌아 다니면서 세계와의 직접적인 접촉을 통해 이루어 진다. 몸의 움직임을 통하여 나타나는 신체적 표현은 몸 자체가 원천적으로 지향적 활동의 주체로서 파악되는 한 이미 항상(恒常, constant) 의미 현상을 지니다. 우리의 지각이 움직이는 몸의 지향 활동을 통해 이루어진다는 것은 우리의 몸의 지향활동이 의식에 선행함을 의미한다. 몸의 움직임은 의식의 의도를 표현할 때에만 의미를 나타내는 기호가 되는 것이 아니라, 이미 그 자체가 살아있는 표현이다. 우리의 몸짓, 표정은 우리 의식이 의도하기 전에 이미 의미가 담겨있다. 몸은 그 자체가 기호(Signe)적이다. 결국. 메를로 퐁티에게서 세상(le monde entier)은 그 자신이 주체가 되어 인식한다, 그리고 이 인식 구조에는 우리의 몸이 구심점(le point centripete)이 된다. 만약 우리가 이러한 메를로 퐁티의 개념을 염두에 둔다면, 예술작품의 특성에 매우 중요한 역할을 하고 있는 재료와 크기를 이해할 수 있을 것이다.

• International Journal of Highway Engineering
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• v.1 no.1
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• pp.107-119
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• 1999

The joints in the jointed concrete pavement provide a control against transverse or longitudinal cracking at slab, which may be caused by temperature or moisture variation during or after hydration. Without control of cracking, random cracks cause more serious distresses and result in structural or functional failure of pavement system. However, joints nay cause distresses due to its inherent weakness in structural integrity. Thus, the evaluation at joint is very important. and the joint-related distresses should be evaluated reasonably for economic rehabilitation. The purpose of this paper was to develop an evaluation system at joints of jointed concrete pavement using finite element analysis program, ILLI-SLAB, and nondestructive testing device. FWD. To develop an evaluation system for JCP, a sensitivity analysis was performed using ILLI-SLAB program with a selected variables which might affect fairly to on the performance of transverse joints. The most significant variables were selected from precise analysis. An evaluation charts were made for jointed concrete pavement by adopting the field FWD data. It was concluded that the variables which most significantly affect to pavement deflections are the modulus of subgrade reaction(K) and the modulus of dowel/concrete interaction(G), and limiting criteria on the performance of joints at JCP are 300pci. 500,000 lb/in. respectively. Using these variables and FWD test, a charts of load transfer ratio versus surface deflection at joints were made in order to evaluate the performance of JCP. Practically, Chungbu highway was evaluated by these evaluation charts and FWD field data for jointed concrete pavement. For Chungbu highway, only one joint showed smaller value than limiting criterion of the modulus of dowel/concrete interaction(G). The rest joints showed larger values than limiting criteria of the modulus of subgrade reaction(K) and the modulus of dowel/concrete interaction(G).

• Korean Journal of Heritage: History & Science
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• v.53 no.3
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• pp.258-277
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• 2020

The purpose of this paper is to examine the paintings and symbols of the Jeju Guandeokjeong murals, Treasure No. 322. Gwandeokjeong Pavilion in Jeju is one of the oldest buildings in Jeju and was built in 1448 during the reign of King Sejong (世宗) of the Joseon Dynasty to serve as a training ground for soldiers. Unlike Gwandeokjeong Pavilions in other regions, Jeju's Gwandeokjeong Pavilion has a long history and is of cultural value due to its beautiful architecture. In addition, it contains various murals which are a further source of attention. There are four murals on the front and back of the two Lintels on the left and right sides of the building. Their contents include of 『The Three Kingdoms (三國志)』 and and on the back. Towards the right, is depicted, with on the back. Based on a replica of the murals from 1976, the plan, style, and age of the Gwandeokjeong Pavilion murals have been studied, together with their meanings. The contents of the mural are broadly divided into five parts, which are identified by the tacit signatures atop the screen, which provide such details as the painting titles. The paintings on the left and right sides of the center appear to inspire the spirit of the military's commerce in order to boost soldiers' morale, protect the country, and protect the people in line with the purpose of Gwandeokjeong Pavilion. The following and figuratively depict guidelines for the behavior and mindset of officials. In particular, is a painting concerned with concepts of longevity and an auspicious (吉祥), which shows how court paintings became popular as folk paintings at that time. The paintings of tangerines and other specialties of Jeju Island, the ritual paintings of Jeokbyeokdaejeon, and the expressions of Mt. Halla (漢拏山) and Oreum (오름) indicate the existence of Jeju artists that belonged to the Jeju government office at that time. The five themes and styles of the murals also show that the murals of Gwandeokjeong Pavilion were produced in the late 19^th and early 20^th centuries.