• Journal of the Korean Institute of Educational Facilities
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• v.22 no.4
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• pp.15-25
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• 2015

The Olin Library in St. Louis was an important design competition for the United States in the 1950's, the rear of America's modern architecture. The participants of this competition were a variety of representative architects and groups of its time. With the library's functional rationality, the Olin Library competition was legible of the aspects of modern architectural flow. The competition required two demands. The first demand was absolute importance in character definition of place, which was to satisfy the site conditions approached from campus design. Secondly was related to interpretation of morphological symbolism in an architectural matter. The experiments of American modern architecture started to change its ideal goal gradually ; accommodating the altering public's code, at the same time, maintaining the original modern value was the reason to changing the ideal goal. As a turning point, the Olin Library should be understood as an important work, which divulged the value change of architectural interpretation.

• Proceedings of the Korea Contents Association Conference
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• 2016.05a
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• pp.81-82
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• 2016

본 연구는 K-Garden 조성붐과 관련하여 한국전통정원콘텐츠 발굴을 위해 조선시대 대표적 정원인 소쇄원의 공간적 특질을 효사상의 관점에서 조명하였다. 소쇄원의 효사상은 양산보의 효부에 나타난 효의 실천을 통한 수 제 치 평과 신분질서를 통한 상 하 공간의 위계, 후손들의 선대정원의 회복의지, 경관연출, 경관요소의 제명에 투영되어 있으며 이러한 효사상은 정원의 장소성과 연계하여 다양한 활용가치가 기대된다.

• The Korean Journal of Archival Studies
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• no.27
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• pp.89-118
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• 2011

This paper considers the relationship between memory and archives by exploring the concepts and meaning of archivist and archival description. The author considers the metaphor of archives as memory and relates our understanding of creation, arrangement, preservation, description, and use of records and archives. The author argues that archivists demonstrate their knowledge and background when they organizing and preserving records and archives.

• Journal of Korea Entertainment Industry Association
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• v.14 no.3
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• pp.251-265
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• 2020

The Drone shot is moving images captured by a remotely controlled unmanned aerial vehicle, takes usually bird's eye view. The hand-held shot is moving images recorded by literal handheld shooting which is specialized to on-the-spot filming. It takes a walker's viewpoint through vivid realism of its self-reflexive camera movements. The purpose of this study is to analyze comparatively aesthetic functions of the drone shot and the hand-held shot. For this, the study understood Certeau's concepts of 'place' and 'space,' chose World Travel 'Peninsula de Yucatan' episode as a research object, and analytically applied two concepts to the scenes clearly presenting two shots' aesthetic characteristics. As a result, the drone shot took the authoritative viewpoint providing the general information and atmosphere as it overlooked the city with silent movements removing the self-reflexivity. This aesthetic function was reinforced the narration and subtitles mediating prior-knowledge about proper rules and orders of the place. The drone shot tended to project the location as a place. Conversely, the hand-held shot practically experienced the space with free walking which is free from rules and orders inherent in the city. The aesthetics of hand-held images represented the tactic resisting against the strategy of a subject of will and power in that the hand-held shot practiced anthropological walking by means of noticing everyday lives of the small town and countryside than main tourist attraction. In opposition to the drone shot, the hand-held shot tended to reflect the location as a space.

• The Journal of the Korea Contents Association
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• v.20 no.1
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• pp.617-629
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• 2020

In the historical and cultural blocks with the most concentrated urban cultural heritage, the development of both side streets is impacted by the development of the main street, which shows a gradual decline. The loss of placeness on both side streets has resulted in more empty houses. Therefore, it is urgent to pay attention and take countermeasures to the empty houses in historical and cultural blocks. In this study, the vacant houses on Zhongshan Road in Hangzhou, China were taken as the object of study to understand the location theory and the six dimensions of Matthew Carmona's urban design. Meanwhile, it further analyzed the evaluative features of the placeness of the vacant houses in the historical and cultural street, to provide direction and basis for the flexible using of other empty houses in Zhongshan Road. Then by applying the Analytic Hierarchy Process (AHP), it obtained the importance scale of each evaluative feature and compared the evaluation results of experts with the analysis results of cases, getting the results as follows: In the flexible application of vacant houses in historical and cultural street, the evaluation result of placeness indicates that this kind of usage should be in order of societal level, perceptional level, functional level, morphological level, visual hierarchy and temporal level; among the evaluative features, security, identity, usability, individuality, aesthetics, connection, diversity, openness, continuity, accessibility, order and history should be considered in turn.

• Proceedings of the Korean Society of Disaster Information Conference
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• 2016.11a
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• pp.299-301
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• 2016

현대 사회에서 테러는 국제적으로 매우 빈번하게 일어나고 있으며, 대한민국도 더 이상 테러의 안전지대가 아니라는 뉴스가 보도되고 있다. 하지만 우리에 테러의 인식에 따른 시각은 다소 편협하여 성별, 나이, 직위, 장소등 많은 부분에서 갈등을 갖으며, 또한 한반도는 남북한의 갈등으로 인한 특수성은 게릴라 전을 테러라고 인식하는 시각이 있다. 국내 특수성으로 인해 테러를 전쟁의 영역으로 보고 테러대응 전략은 국가 안보로 많이 치우쳐져 있다. 역사와 정치적으로 또한 테러는 이념대립으로 인한 전쟁으로 치우쳐 전쟁의 전략에 한 부분으로 인식 되어 왔다는 것이 사실이다.(Rumyana G., 2014) 이는 전쟁의 시각에서 테러를 잘 설명하고 있다. 한편, 테러의 개념은 시간이 지남에 따라 기존의 안보의 개념뿐 아니라 재난의 개념에서도 찾을 수 있다. "불평등한 사회에 대한 민중의 분노로 이해하여야 한다"고 스위스 진보적 사회학자 장 징글러(Jean Ziegler) 는 말하며 무고한 사람들을 타겟으로 한 정치적 목적을 이루기 위한 비합법적 무력 사용으로 보았다. 즉, 비합법적 무력사용으로 무고한 다중(Innocent people)에게 폭력을 행사한 것이다. 젠킨스와 라쿼르의 정의를 살펴보면 "테러리즘이란 폭력 혹은 폭력의 위협이다"라고 정하였다.(Jenkins 2004) 폭력이란 형법에서는 다른 사람에게 상해를 입히거나 협박하거나 하는 등의 행위와 함께 다른 사람을 감금하는 행위, 주거에 침입하는 행위, 기물의 파손 등에 대해서도 폭력이라 표현한다. 철학, 정치학 등의 학문에서는 다른 사람 또는 국가나 세력을 제압하는 힘을 일반적으로 지칭하기도 한다. 힘자랑이나 힘겨루기가 이에 속한다. 무력의 사용으로 사회에 심리적인 영향을 끼치며 사회적 파괴를 일으키는 것을 보편적 테러의 개념으로 볼 수 있다. 테러는 국가 통치 질서와 사회질서 안정에 큰 위협과 혼란을 초래하는 파괴행위의 무력행사로 국가의 재난 상황을 유발하는 인류가 만든 재난으로 볼 수 있다. 자연현상으로 발생하는 자연재해는 인류의 시점에서 재난으로 해석된다. 마찬가지로 사회현상으로 발생하는 폭력적 파괴행위에 대한 피해는 인류의 시점에서 재난의 현상으로 해석 되어야 한다. 과학기술이 발달하면서 첨단기술을 이용한 폭력행위와 파괴의 두려움은 정보통신 기술의 발달로 두려움의 전파 속도도 빨라 질 것이다. 따라서 테러행위의 극복을 위해서는 테러를 인적재난(Man-made Disaster)로 보고 재난의 범주로 포함하여 미래의 테러를 위한 대비전략을 수립해야 할 것이다. 이를 위해 본 논문에서는 학계의 학자들과 기관 및 민간 의 전문기관들에 따른 테러의 정의를 분석하고 재난정의를 고찰하여 시사점을 제시하고, 대테러 대비 전략의 방향에 기틀을 마련하고자 테러정의를 도출하였습니다.

• Journal of the Korean Geographical Society
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• v.48 no.6
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• pp.944-966
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• 2013

This study attempts to highlight the cultural importance of urban public space by analyzing the changes Tap-Gol Park from late 1990's to early 2000's, a park located in the heart of Seoul, underwent in its meanings and uses. Public space, a product of modern urban planning, is characterized by its openness and accessibility and represents the vitality of modern city, serving as a meeting place for citizens with different social backgrounds at such occasions as gatherings and festivals. While the government or a few dominant groups try to control the public and their behavior in public space by giving a specific meaning to it and specifying its use, people constantly set their foot in it and view the space as a place differently for each individual's personal or social reasons. It is therefore not very surprising that the meaning of public space has never been successfully defined. Following the traces of attempts to define the meaning of public space and considering how public space can be efficiently used will shed light on what types of groups, especially ages and classes participated in the contest for the use of public space and expressed their own cultures in urban society through various negotiations.

• Cross-Cultural Studies
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• v.47
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• pp.291-312
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• 2017

This paper examines how 'house' is meaningful in Chi Li's novel. Chi Li focuses on the house as a symbol of status, and the house as a place of gender performance. First, as a sign that symbolizes an individual's identity, 'house' is divided into intellectual and petit bourgeois, and constitutes binarism into civilization/non-civilization, knowledge/non-knowledge, spirit/anti-spirit and superior/inferior. In recognizing the irrationality and unfairness behind house symbolizing intellectual and petit bourgeois, Chi Li shatters the boundaries of the binaralized house as a sign of identity. Second, it dismantles the house as a place where gender is (re)produced. This is accomplished through two aspects. One is to re-define a private area house as a public area in which economic activity occurs. The house, as a public area in which economic activity occurs, becomes a place where women are reborn as economic entities. Passive, dependent femininity is reconstructed as independent and subjective. The other dismantles the definition of the house which is identified with masculinity. The house identified with masculinity is a place that symbolizes the socio-economic capacity of men. According to the socio-economic ability of males, the house is a place symbolizing the realization of masculinity, and it becomes a place to fix the gender order while reproducing masculinity. It may become a place to experience the weakening or defamation of masculinity. At that moment, the house becomes a place where the gender order of masculinity and femininity is overturned. Through this, Chi Li reconstructed, and in a sense revolutionized the definition of the house as a place where traditional gender is (re) produced by dismantling the definition of fixed femininity or masculinity.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.4
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• pp.170-181
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• 2011

This Research will explore the meaning indicated in the landscape meaning and feature of literary group culture, focusing in Gurujeong(九老亭: pavilion for nine elders) and Samgaeseokmun(三溪石門: stone gate in three valleys) located in Dundeok-myun, Imshil-gun, and will seek to understand the implications by studying the cultural landscape spread out in the area. The place where Gurojeong and Samgaeseokmun is located is the meeting point of the three valleys, Dunnam stream, Osu stream, and Yul stream, which is the main location to view the beautiful scenery, which has the nickname as the dwelling place of a celestial being. Especially, based on the description of old maps, "Samgae(three valleys)" and "Samgaeseokmun" possesses significance as a landmark and shows a characteristic feature of landscape structures of low hills. Dangugurohwe(丹丘九老會: nine elders gathering on the dwelling of a celestial being) originated from Hyangsangurohwe(香山九老會: gathering of nine elders on a fragrant mountain), where Baekgeoi(白居易) of China was one of the main people. This group was organized by nine elders over the age of 60 desiring to view the scenery of Doyeonmyeong. The group enhanced the literary spirit on the low hill, erecting a tower, and enjoying the beautiful scenery changing every season with scholars from the same region. This phenomenon seems to have been formed upon the positive response to gatherings of elders, which were prevalent in the Joseon Dynasty. If the internal idea pursued by the group was "longevity," the external idea pursued can be summarized as "the spirit the respect for the elders." Naming the groups as 'Dangudae(place where the celestial being lives), Guseondong(valley of seeking a celestial life), Bangjangsan(mountain of a high priest), and Daecheondae(place of communicating with God) was likely a device to introspect oneself and symbolize one's life process. Furthermore, the reason Samgaeseokmun, which is an imitation of Choi, Chiwon's work, was built near Soyocheo, was probably to yearn the celestial land and based on the desire to follow Choi, Chiwon, who was the most self-fulfilling being presumed to have become a celestial being by practicing the pursuit of freedom, escaping from the reality. After tracing the symbolizing meaning of the four letters carved in the left side of the stone wall of Dangudae, the conclusion that this place was not only a place for literary gatherings of the nine elders of Saseong(four families), but was a place where the celestial being dwelled could be inferred. Corresponding with Dangudae and Gurojeong, which are places where the order of human and nature is harmonized and where its meaning associated with the location intensifies, arouses strong bond, can be said to be the symbol of the traces of celestial beings where the spirits of attachment to a certain place is embedded. The acts performed in Dangugurohwe were those of traditional leisure including strolling, viewing the scenery, drinking, composing poems, and playing instruments, and sometimes listening to stories, tea ceremony, prayers, and fishing were added, which indicates that the gathering had a strong tendency towards pastoral and hermit life.

• Journal of Legislation Research
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• no.55
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• pp.7-56
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• 2018

This paper deals with the legal meaning and issues of street performances. The key elements in the legal sense of street performances (or artistic performances) are 'public places' and 'artistic activities'. Therefore, as far as belongs to "artistic activities in public places", we can call them in principle as street performances regardless of its level of art, whether they are paid or not, size of performances or genre of artistic activities. Street performances are a way for anyone to freely participate and enjoy art by being performed on open places. In addition, street performances can be seen as more popular and democratic artistic acts than mainstream art culture in that anyone can become street performers. Although street performances are in vogue and becoming a universal cultural phenomenon, they do not appear to be legally organized yet. However, we don't have to strictly regulate street performances on the grounds that they are something different and special. Instead, they should let their street performances be freely performed and enjoyed in accordance with the constitutional law that guarantees the freedom of art or the freedom of artistic expression. Of course, it is necessary to modify the relevant laws on key issues raised regarding street performances. Finally, for street performances to be well established as cultural phenomenon, it should be harmonized that efforts to observe the law and orders by street performers, mature rituals and cultural tolerances of citizens who enjoy street performances, and efforts to realize the purpose of cultural countries and to promote street performances by governments.