• Journal of the Korean Institute of Landscape Architecture
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• v.50 no.6
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• pp.110-123
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• 2022

Namsan Park in Seoul was designated as a "grand park" in 1954 and is currently operated as an 'Urban Nature Park Area' and four 'neighborhood parks.' However, despite the park's historical and cultural value as an urban park, it has been discussed mainly from a perspective revolving around notions of a mountain or a city wall. To ensure a comprehensive exploration of Namsan Park's history, this study examined public records at the Seoul Metropolitan Archives (SMA), which houses the city's permanent records for preservation and organization. To this end, documents in the SMA Database (DB) were analyzed, yielding 1,359 records concerning Namsan Park. Based on the contents, general characteristics of the urban park were identified through production periods, record types, and disclosure types. Then, essential keywords concerning organizations, people, geographical areas, subjects, and business functions were examined. Finally, the contents and characteristics of Namsan Park in public records were scrutinized, focusing on specific spaces. This research also uncovered important information, such as park drawings, photos, planting lists, plant parcel lists, and significant discussions and decisions regarding the operation and management of the park. Although the public records do not contain a comprehensive history of Namsan Park, it was possible to check the primary historical changes and deliberation processes pertaining to the park's history. Therefore, continuous research intended to interpret and describe public records is expected to identify many implications. In addition, because the public records showed heterogeneous characteristics that center on specific periods and events, an essential task is to advance collaboration and networking with various related institutions, designers, researchers, and citizens.

• Journal of the Korean Institute of Landscape Architecture
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• v.51 no.3
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• pp.1-20
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• 2023

The present study has monitored the changes in the biodiversity of Dunchon-Dong ecological and landscape conservation area after the restoration of the wetland, identified and analyzed the threats to the ecosystem, and presented a management plan accordingly. In this area which was forests and rice paddies in the past, apartment reconstruction is currently underway, with some hinterland forests and wetlands remaining. When we look into the change in the floras, the total number of species was 193 in 2000 before the restoration, it decreased from 2004 to 2006, and as of 2019, it was 149, showing an increasing trend. The result of comparing the species that emerged before and after the restoration showed an increase in Cyperaceae herbs such as Carex maximowiczii and Carex dispalata growing in wetland areas within forests and Schoenoplectiella juncoides and Schoenoplectus tabernaemontani growing in areas within wetlands where shallow water is maintained. As a result of analyzing the change in the area ratio of each type of extant vegetation, the wetland native herbs formed the power at the highest ratio after the restoration. The change in the power of the wetland native herbs was on an increasing trend until 2007, after which it decreased much in 2010 and then gradually increased, showing values of 26.6% in 2000, 44.6% in 2002, 49.0% in 2005, 53.3% in 2007, 28.7% in 2010, and 37.3% in 2019. The cause of the decrease in 2010 was judged to be due to the vegetation management conducted to secure open water and remove organic matter in freshwater reservoirs. The amphibia which emerged from 2000 to 2019 was a total of 9 species including Hynobius leeshii, Bufo gargarizans, Kaloula borealis, and Rana uenoi. As a result of the changes in the emerging wild birds, the species diversity index before the restoration was 0.9922 in 2000, and the species diversity index after the restoration gradually increased to 1.2449 in 2005, 1.2467 in 2010, and 2.2631 in 2019. The amphibia and wild birds inhibiting in the Dunchon-Dong forest and wetland were judged to have increased through continuous wetland maintenance such as naturalized plant removal management, native plant maintenance, and open water securing management. For the ecosystem preservation management of the Dunchon-Dong ecological and landscape conservation area, it was suggested to minimize the impact of the Dunchon-Dong reconstruction project, reorganize the indiscriminate access roads adjacent to the wetland, and reorganize the main entrance to the wetland. For ecosystem restoration management, systematic restoration and ecological buffer planting were suggested to be carried out at the time of construction fence demolition.

• Economic and Environmental Geology
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• v.34 no.1
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• pp.71-88
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• 2001

The Geochemica] and isotope studies on the $CO_2$-rich water from the Shinchon area were carried out. The Shinchon $CO_2$-rich water belongs to Ca(Na)-$HCO_3$ type showing very high $P_{CO_{2}}$ ( $10^{-0.35}$ ~ $10^{0.29}$ atm) and TDS (835-3,144 mg/L). The results of geochemical and isotope analysis indicate that $CO_2$ gas is originated from the deep seated source such as mantle or magmatic gases. The $CO_2$-rich water was evolved by interaction with deep-seated granite and major water-rock interaction was dissolution of p]agioclase resulting high Na content of $CO_2$-rich water. Precipitation and dissolution of secondary calcite might be accompanied with the dissolution of plagioclase maintaining Na/Ca ratio. High contents of K and $SO_4$ indicate that the geochemical characteristics of $CO_2$-rich water were partially affected by interaction with upper sedimentary rock during uprising to surface. N03 and tritium contents suggest that the $CO_2$-rich water was mixed with low $CO_2$ groundwater at some locations. The oxygen-hydrogen isotopes show that all water samples were derived from meteoric waters and the $CO_2$-rich water was isotopically re-equilibrated with lighter $CO_2$ gas. Although some carbon isotope data show isotopically heavy values, carbon isotope data indicate that the $CO_2$ gas was possib]y derived by deep source.

• Cartoon and Animation Studies
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• s.49
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• pp.399-423
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• 2017

When thinking about the essence of color, green is the image that is settled on the plant itself, and it is also the color shining by the sun. Physics tries to explain green of plants in the correlation of sun and moon, and the history of art contemplates how it is expressed on the canvas. The film attempts to represent a realistic green using camera or computer specific to the medium. Many color theorists who explore the essence of color do not trust the mechanical and reductive scientific colorism that began in Newton and seek a completely different way of exploring in psychology and aesthetics. Like Goethe, who opposed Newton, they do not distinguish the human as subject and the color as object, but focus on the internal grounds of the relationship between subject and color. The representation of color in film is a combination of physics and art. Film color can be expanded to the spiritual dimension beyond the previous emotional and aesthetic, even beyond the physical and mental domains.

• Science of Emotion and Sensibility
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• v.8 no.4
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• pp.423-433
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• 2005

The computer hardware development has provided many chances of emergence between art and technology. In many cases today's interactive artworks cannot be completed without audience's participation. The interactive production process with technical supplementation can be celled feedback. Mr. Nam Jun Paik showed 'Participant TV' that interacts with audience's response in real time. It means artwork changes with the constantly changing value from the data set from human visual perception. Dan Graham showed another feedback related work, which delays 5second playback in mirror that implies consequence of time. Today's media art has to sublimate coincidence, time ant audience into philosophical artwork through consonance that comes with video and sound as we can see from Bill Viola. Stelarc produced artworks. That use input data that is weak signals from brain, muscles. Through a terminal display with player, body expanded meaning of media. Jeffrey Shaw's 'Legible City' provided a fabrication of the reality with the interaction of bicycle's pedal speed and steering direction that is controlled by 4river. RE:MARK used microphone as input device as Edmond Couchot's 'Je same a la vent' and Nam Jun Paik's 'Participant TV' did. There is no communication without feedback between human being. The reality makes audience involved into artworks. That is the reason why feedback has to be natural. Through the feedback process, the originality of the idea is altered by audience. The feedback is not just part of flesh of artwork rather skeleton of it. Technological showoff cannot be art itself The perfection of technological application plan helps feedback that interacts with audience naturally in order that audience hoes not feel the feedback as artificial plan. Interactive media art has to be evolved into new media form with new integration feedback technology.

• Journal of the Korean Institute of Landscape Architecture
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• v.45 no.1
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• pp.63-72
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• 2017

Gardening activities, plant raising, and general flowerbeds the public makes today can be found in the original form of cottage gardens in the United Kingdom. A cottage garden is a popular garden style of modern Britain, implying unique Englishness including ethnic sense and vernacular. In addition, the purpose of this study is to consider the modern movement in the United Kingdom in the past 200 years and read Englishness of cottage gardens through style differentiation and background of occurrence of cottage gardens appearing in this process. Therefore, this study is summarized as follows. First, a view of nature of the Englishman loving freedom and landscape acts as a key part of patriotism and is connected to the preservation of idyllic England. For this ideal of the Englishman of the country, idyllic British characteristics are found in various literatures and artistic fruits; cottage gardens, that is a form of new garden, were made with invigoration of supply and collection of plants. Second, an early form of cottage gardens was the domestic garden, in which there is a vegetable garden by middle-class move to a suburb according to urbanization, but evolved into a form of garden having both artistry and regionality, vernacular, and ecological characteristics with various situations of modern society(handicraft promotion movement, preservation of remains, and ancient building restoration movement). Wild gardens occurring in this process are a type of garden realizing wild fields and forests in the United Kingdom;they have made a big impact on many garden designers up to now. Cottage gardens, reflecting a variety of Englishness, is a subject of city planning and flower shows and is a culture symbolizing the United Kingdom.

• Journal of the Korean Home Economics Association
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• v.38 no.12
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• pp.257-269
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• 2000

예술작품은 의상디자인에 영감 혹은 영향을 줌으로써 상업적 의상으로 재생산된다. 오늘날까지도 60년대의 많은 팝 아티스트 작품들이 그대로 T셔츠 등에 프린트되는 것을 쉽게 볼 수 있다. 이러한 직접적 영향에는 자주 맹목적 표절이라는 논란을 불러 일으켰으나 긍정적이든 부정적이든 예술작품과 의상 디자인은 20세기초부터 밀접한 관계를 가져왔다. Sonia Delaunay는 예술을 대중과 결합시키는 가장 좋은 방법은 의상을 통해서라고 생각하였다. 그녀는 "만일 예술작품을 생활 속에 들어가게 하려면 그건 여성들 자신이 입고 다니는 방법뿐이다". 라고 말하였다. 결국 이러한 예술의 대중화에 대한 이론은 60년대에 와서 팝 아트 패션의 출현으로 그 결실을 보게 된다. 상류층을 대상으로 한 의상이 대중화되는 과정에서 60년대 경제호황으로 인한 젊은이들의 소비자층 형성과 미술양식에서의 팝아트의 출현은 자연스러운 시대적 조류로 나타났다. 이러한 상황은 팝 아트가 이 시대의 미술 양식에 혁신적일 뿐 아니라, 사회 전반에 팝 아트의 특성(소비 문화적, 대중 문화적, 재현적, 통속적, 기계적, 획일적)을 유행시키고, 대중에게 순수 예술과 복식에 참여 할 수 있는 기회를 부여했다고 볼 수 있다. 따라서 본 연구에서는 가장 혁명적이고도 대중적이라고 할 수 있는 팝 아트 이미지의 작품 제작과 분석을 통하여 현재 논의되고 있는 전시회나 패션쇼에서만 볼 수 있다는 다소 아방가르드 적인 의상 작품들의 대중화 방안에 대한 해결책을 모색하고자 하였다. 실제 의상 디자인 창작에 초점을 맞추었으며, 제작을 위해서 팝 아트에서 주요 소재로 삼았고 대중적 이미지의 심볼이라고도 할 수 있는 Coca Cola label을 표현 모티브로 삼아 개성적이고도 독창적인 의상 디자인을 한 후 분석하였다. 또한 독특한 의상 표현의 개발을 위하여 표현 기법으로는 현대 미술에서 새로운 재료와 여러 가지 재료를 화면에 도입시키는 표현 방법으로서 사용된 콜라주 기법을 사용하였다. 본 연구를 통하여 의상 창작에 있어 조형예술과 연결하여 대중적인 이미지를 도입함으로써 착용자가 예술에 대한 친근하고 익숙한 느낌을 갖게 하며, 예술과 상품 그 자체에 대한 상업적 홍보 목적으로도 사용할 수 있으며, 대중적인 이미지를 표현함에 있어 콜라주 기법은 염색 기법을 사용하지 않고서도 작가가 원하는 표현 효과를 낼 수 있다는 측면을 발견할 수 있었다. 즉 사용된 대중적 상표 이미지는 주인에서 흔히 볼 수 있는 현대 도시의 인공적 환경들로, 의상을 독특하고 개성 있게 표현할 수 있는 모티브의 역할을 하면서 또한 그 예가 무한하여 다양한 디자인 창출의 가능성을 갖고 있으며, 의상을 통해 예술과 대중을 융합시켰다는 예술의 대중화, 민주화라는 중요한 역할을 하였다. 전시회나 패션쇼에서 만 볼 수 있는 예술적 성격을 띠는 아방가르드 작품의 대중 확산 방법으로 제시될 수 있는 이상적인 방법으로는 예술성이 짙은 도저히 입을 수 없다고 생각되어지는 아방가르드한 의상을 일반 대중 브랜드들이 단순한 모방이 아닌 새로운 패러디 작업으로 일반화시켜 상업성을 띤 의상으로 재조정되어 여성들의 몸에 걸치게 하는 것이다. 이와 같은 순환으로써, 조형예술 작품은 의상 디자인 참작에 영향, 영감을 주면서 여러 번의 형태 변화를 거치는 패러디를 통해 각 계층의 누구나가 좋아하고 접할 수 있는 또 다른 창조를 맞아 대중의 손까지 갈 수 있는 것이다.

• Land and Housing Review
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• v.15 no.3
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• pp.1-23
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• 2024

In the face of an impending demographic cliff, this research delves into geographical disparities in socioeconomic statuses and living arrangements of young single women in rental housing and also to explore influential factors of their residential assessment and housing expenditure. From the Korean Housing Survey of 2020, the cross-sectional study identified 847 unmarried female single-person householders aged between 20 and 39 in four districts - Seoul and Gyeonggi-Incheon Area (GIA) of Seoul Metropolitan Area (SMA), and metropolises and non-metropolises of non-SMA. The empirical analyses revealed that regardless of regions, most of the respondents were college-educated, salaried employees in late 20s living in a studio flat, seldom bore debt and barely relied on social services. Renters in SMA, employment rate, income and living expenses were higher than those in non-SMA and they resided in small, old but adequate housing with a separate bedroom. In particular, Seoulites suffered from housing cost overburden but most singles in GIA benefited from the lowest housing burden. While the main determinant of residential assessment was livability, housing satisfaction was additionally affected by old housing and the satisfaction with residential environment was also explained by urban amenities. Despite geographical variations, housing expenditure was primarily driven by income and employment.

• Journal of Korean Society of Forest Science
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• v.101 no.1
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• pp.36-45
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• 2012

Education on the environment and plants offered by arboretum for today's people not only contribute to foster a better natural environment in urban region but also provide visitors with decent refreshment environment and beyond. In the study, the author undertook the observation on usage behavior and satisfaction model of arboretum visitors expect and investigated the facilities and programs to be offered by arboretum in order to propose the opinion regarding the service. For observation size of variables in a multiple regression analysis of variables is influencing satisfaction rankings walks the line of flow, the educational effect on the environment, cleanliness of the facility, visits pay, natural beauty, diversity of trees, accessibility and friendliness of staff, expansion of facilities in the arboretum and appeared as a complement. In case of visitor attribute, the residents living near the facility showed the highest visit frequency of more than 5 times, especially as part of taking a walk. This proves that the visit to arboretum is considered as part of everyday life, and thus a new program and walk path as well as movement route are needed to be developed for the visitors. In the question relating to the facilities and operation programs in Daegu Arboretum, particularly the requests by visitors, they responded that the establishment of cultural event, beautiful natural scenery, refreshment and convenience facilities is the most critical issue. In addition, the management on withered trees and bare lands is an urgent issue as well. In this sense, the Operation and Management Strategies based upon the visitor behaviors and model of satisfaction are needed to deal with the adoption of diverse events and festivals joined by local residents, ombudsman program, environmental program development for students and teachers within the region, negligent bare lands and withered tree replacement, and cafeteria facility improvement and supplement as well as the bench marking of other facilities than arboretums located in other regions. These items are thought to be sufficiently dealt with by Daegu Arboretum having no more external resources. It is recognized that the visitor satisfaction begins from a minor thing, and a small difference determines a great satisfaction, and thus the software approach rather than hardware one is in need.

• Journal of the Korean Institute of Landscape Architecture
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• v.47 no.1
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• pp.26-38
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• 2019

This study is based on the analysis of the characteristics of waterfront scenery. Recently, waterfront development has expanded residentially, commercially and into leisure space. In the development of the waterfront, it is necessary to apply designs suitable for urban and various other waterfront areas. In this study, the natural scenery of the waterfront was researched with respect to the Korean Jingyeong landscape paintings and the main elements of the scenery were analyzed. In this study, 105 painting of Korean Jingyeong landscapes paintings were selected for the analysis of the waterside scenery. The paintings of Jeong Seon were studied to categorize streams topographically into mountainous, upper, middle, lower, and ocean types. In addition, major micro-topography elements, which are 13 water image elements and 13 staffage elements were analyzed. The main waterfront landscape elements are divided into 13 types. The waterfalls were divided into long waterfalls, short waterfalls, cascading waterfalls, and other aspects considered were line stream, curve stream, multi-curve stream, pond, water surface, flow surface, wave surface, rock side, pile sandy side, sandy side. There are 13 kinds of staffage elements, include pine forest, pine trees, fir trees, bamboo trees, willow trees, broadleaf tree, villages, houses, gazebo, boat, bridges, and people. The waterfront landscape by a river area was explained according to each characteristic of the waterfront landscape and staffage, and their changes were analyzed in each area. The 105 paintings were divided into 35 pieces of mountainous streams, 9 upper streams, 5 middle streams, 35 lower streams, and 21 oceans, and the change of each waterfront landscape and staffage was analyzed. Based on the topographical analysis of the waterfront landscape and staffage, the results can be summarized into 5 types of the waterfront landscape. Based on the micro-topographical characteristics of the waterfront landscape styles are as follow. In the mountainous streams, long waterfall and deep forest type are apparent, which depicts deep mountain waterfall scenery, and a multi-stream forest is the scenery of a picnic in the mountains, which is a representative form of mountainous streams landscape. In the upper-middle stream, the water-surface and gazebo type is predominant. In the lower stream, the sandy-gazebo typ scenery is predominant and the sandy depiction is unique to lower stream landscape. Pile sandy-dock type is life scenes where human activity highlighted, is a representative form of the lower stream landscapes. The characteristic of the coastal landscape is the serpentine rock scenery on the beach and the wave-serpentine rock type that forms the main coastal landscape. The study aims to propose significant design elements for a natural waterfront landscape planning based on the analysis of landscape in the paintings of Jeong Seon.