• Journal of Korea Entertainment Industry Association
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• v.13 no.1
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• pp.69-79
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• 2019

The purpose of this study is to analyze how Andong Joongang Cinema (hereinafter referred to as "The Cinema"), the only art cinema in Gyeongsangbuk-do Province, is perceived by local people as a local cultural resource. For this, an analysis framework was set for analyzing local people's perception of The Cinema as a local cultural resource, by analyzing the functions of local cultural resources and the function of The Cinema and examining the correlation between the two sectors, on the basis of precedent studies on local cultural resources and related papers on art theaters and The Cinema. Based on the proposed analysis framework, the local people's perceptions of The Cinema as a local cultural resource were summarized into four divisions: the perception of the enjoyment of culture & art, the perception of historicity, the perception of a tourist attraction, and the perception of community formation. As a result, it is judged that The Cinema has the identity, the traditionality and the community spirit as the three functions of which a local cultural resource has, and thus, it is proved that The Cinema functions as a local cultural resource. Therefore, local cultural resources have been performing their functions encompassing its scope with the region's history and surrounding environment, not standing alone. The Cinema also has been functioning as a space for the enjoyment of culture and art, a tourist attraction, and a cultural space for communicating with the public, keeping its historicity of the region. It is expected that there will be specific follow-up studies so that The Cinema can consistently play its role as a local cultural resource.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.34 no.4
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• pp.89-97
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• 2016

This study looked at the sacrifice space building in the Changbai Mountain area to a specific era in terms of the cultural landscape. The scared of Changbai Mountain how changes in history came despite the regime and national change, interpretation of the reason was the scared maintained. The results of this study are as follows. First, Replacement of the regime in the Republic of China in the Qing period, ethnic diversity, underwent a cultural acceptance. So Changbai Mountain nature of sacrifice, the divine subject has formed the changes. Second, the Qing Royal sacrifice space Wangji Temple(望祭殿) have formed a unique cultural space and the sacrifice of authoritative content with only space. The Republic of China period, a new folk beliefs were born between the defense in the face of the Han Chinese migration and settlement process. Build Sacrifice space of Rulai Temple(如來寺) and Shanshenlaobatou Temple(山神老把頭廟). Third, the spatial relationship between the priest and the Changbai Mountain area Wangji Temple(望祭殿) is the power of space as vertical space. Rulai Temple(如來寺), Shanshenlaobatou Temple(山神老把頭廟) is located in the Changbai Mountain and horizontal space was obedient to the space. Fourth, the sacrifice ritual Wangji Temple(望祭殿) of the Qing Dynasty is the only ritual sacrifice of satisfaction. It is cut off depending on the abolition of imperial power. Currently, public ritual sacrifice is commonplace rituals and sacrifices of the Qing Dynasty is only formally underway. In conclusion, as it has been maintained for the sanctity historically Changbai Mountain. Changbai Mountain sacrifice space was changing through the acceptance of the replacement of the regime and culture of ethnic offerings from a single culture of the Qing Dynasty. Currently, to form a sacrifice space and culture overlap through a mutually acceptable.

• Journal of the Society of Disaster Information
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• v.15 no.2
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• pp.175-185
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• 2019

Purpose: The purpose of this study is to propose a direction planning integrated waterfront cultural city in terms of urban economic revitalization through regeneration of former industrial harborfront and the creation of cultural living spaces based on regional history in order to pursue urban activities. Method: Analyzing planning waterfront and historical cultural space based on MM21's development policy and strategy under the growth process and development of Yokohama. Results: MM21 is the core public project out of the six major projects promoted by Yokohama, which is on the brink of satellite cities for the expansion of Tokyo with a goal of qualitative transformation of former harbor. It is planned to be developed as a creative cultural waterfront city for an integrated urban development. Conclusion: Planning waterfront cultural city, which takes advantage of the former harbor city derived through MM21 analysis, provides the cityscape towards the sea and the port via the viewing point and opens the waterfront open to the port and the sea Space and Esplanade landscape development, preservation of historic buildings and cultural assets, recycling as cultural art space, waterfront space planning that cooperates with public culture art and pedestrian network.

• Journal of Environmental Science International
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• v.12 no.4
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• pp.383-391
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• 2003

The purpose of this research explain the meaning of the environmental design principles and cultural landscape pattern(dualistic space organization) of the Hahoe(河回:winding river village) the Yangdong(良洞) traditional village. Village's space organizations based on Shamanism, fin-yang and Five elements principle, Feng-shui idea, social system and Confucian ideas. And it were accomplish curat landscape pattern(village:form+object=pattern) through the frame of settlement space. As a central persons of villages(the Hahoe $.$ the Yangdong) construction, Suhae(西厓) experienced tough Chunghyodang - Wonjichongsa - Ogyonchongsa - Pyongsansowon channel(忠孝堂 -遠志精舍 -玉端精含 -脣山書院) and Kyomam(謙 ) experienced tough Yangjindang - Binyeonchongsa - Kyomamchongsa - Hwachonsodang(養眞堂 - 賓淵精舍 - 謙庵f精舍 - 花川書堂) channel. Also Woojae(愚齋) experienced tough Suhbackdang - Khankachung - Dongkangsowon(書百堂 - 觀稼停 - 東江書院) and Hoejae(晦齋) experienced tough Moochumdang - Hyangdan - Oaksansowon(無添堂 - 香壇 - 玉山書院). It is space organization of themselves interact contrast and sequence principles with competition in good faith. And ecological art-space, that is, environmental spare organizations of traditional village has been reflected harmony between nature and artificiality, spatial rhythm and sequence, spatial hierarchy between upper classes and humble class, permeability space, asymmetrical balance, aesthetic space perception. The humble classes hold a ceremony Hahoe's Pyolsingut-Talnori(maskdance drama), Dangjae(堂祭:religious service) at the Dang(堂:shamanism spot) and Yangdong's Sohraesulnori, Hohminori. And the upper class hold a ceremony Hahoe's Julbulnori and Yangdong's Chungjanori connected with culture of confucianism. Specially, the cultural structure cf the village is evidence of a contrast between the upper class and the humble classes, time, method and location of ceremony(performance).

• Journal of architectural history
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• v.32 no.5
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• pp.95-105
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• 2023

Focusing on Hwaseokjeong in Paju, the work seeks to clarify the social production of Nujeong (樓亭: Korean traditional pavilions) space, which took place over the 1960s and 70s, and its cultural-political implications. To make the effort as such meaningful, a theoretical framework based not merely on the thesis of 'social production of space' advocated by Henri Lefebvre but especially on some discussions related to 'state production of space' is prepared, according to which Hwaseokjeong is analyzed and explained. As a consequence, two principal arguments are put forward: one is that Hwaseokjeong was a social space which had been built and constructed in accordance with the unique mode of production dominating Korean society at that time called 'the state mode of production (le mode de production étatique)'; the other is that what lies beneath the denotation of a 'social space of tradition restoration' that Hwaseokjeong appears to carry is in fact the connotation of 'infiltration of anti-communist ideology'. All of these claims are once again supported both by examining Roland Barthes's semiology and mythologies and by considering Hwaseokjeong's P yeonaek (扁額: a plaque or framed text) as 'the practice of naming power through Jesa (題詞: inscribing dedications)'. While providing a succinct summary, the paper finally evaluates what 'social production of space' implies to social practices of architecture and related criticisms by taking into account the relationship between visibility and readability of space including buildings.

• Journal of the Korean Home Economics Association
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• v.31 no.1
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• pp.225-239
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• 1993

The purpose of this study is to look for the basic formative elements of housekeeping space of our cultural life which are worthy to succeed and develop by revaluating in modern view and to reveal what we should maintain form the women's view of the housework in those days. In this study, out look on Chosun Dynasty housekeeping is based on the norm of the women in those days. The research on the housekeeping space for norm of the women in those days. the research on the housekeeping space for Chosun Dynasty upperclass is focused on the house built from early till late Chosun Dynasty, which is now a cultural asset. As a result, norm of Chosun Dynasty have created a social wide atmosphere for women to devote herselves to the housekeeping. Moreover the constructions of Chosun Dynasty's upperclass are affected by Korea's natural environment and socio-cultural environment. Primary factors for natural environment are building materials and the change of seasons. Because of changeable seasons, there were places for storing massive commodities. The other primary factors for socio-cultural environment affecting housekeeping space were social positions, and extended family system, worshipping the ancestors standard of living, the theory of“Poong Soo”(風水, a kind of geomancy) and thought of“Yin and Yang, Five Elements”(陰陽五行) and popular belief of that time. Affected by these two environments, the characteristics of housekeeping space for Chosun Dynasty are ; the main building of the house was used as a diverted area for women to work, and was reconstructed for household affairs. There were inefficient points in the housekeeping space of that time and the space remained stagnant because of the restricted sex and the social position of housekeeping doer. But you could find some points that are efficient and functional to adjust in those living conditions. The storehouse, storage barn, shed and soyjar terrace are the specialized storing place, according to the kinds and characteristics of the commodities. the kitchen, for example, is the combinations of many abilities. It is not only for cooking or heating the room, but also for storing drinking water. The hall which was the storing place, housekeeping place and also the place for family events are used as a diverted place. The linked arrangement of kitchen, store house, boudoir and the other rooms. In addition, we can see that the construction of the kitchen for more than tow people could work in.

• Journal of the Korean Institute of Landscape Architecture International Edition
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• no.2
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• pp.45-50
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• 2004

Confronting with series of environmental problems. caused by urbanization and the constantly improving consciousness of the entire society towards environmental protection, it has become an inevitable trend to develop parks and green space planning that guided by the principle of 'respecting nature, preferring ecology' and integrate function, arts and culture of landscape design. Aiming at specific project, humanized design should be laid stress on. With fundamental functional construction serving as the base, the reflection of cultural content and regional landscape as the characters, using various landscape gardening elements reasonably to enrich space design as well as highlighting leisure and sport function and following the concept 'human-centered', parks and green space filled with natural vitality and cultural spirit can be constructed, people, city and the nature could develop together in harmony.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.37 no.4
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• pp.1-10
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• 2019

The purpose of this study is to examine the design ＆ construction methods of the traditional landscape space of the past and the repair and maintenance of cultural heritages to maintain it today. To this end, the method of narrative description, process extraction and construction related to traditional landscaping were compared to each other based on the 『Imwongyeongjeji』 「Seomyongji」 and 'Standard Specification for Repairing Cultural Heritages'. The results are as follows; First, to analyze at the description methods of the 『Imwongyeongjeji』 「Seomyongji」 and 'Standard Specification for Repairing Cultural Heritages' and related processes in the field of traditional landscaping. 『Imwongyeongjeji』 「Seomyongji」 was an encyclopedia of the overall construction method of the living space, describing the location, effect, and advantages and disadvantages of each component and presenting quantitative figures to institutionalize the construction of traditional landscaping spaces. 'Standard Specification for Repairing Cultural Heritages' presented the entire process of repairing cultural heritages, and it is becoming a kind of guide for reference at the site. Among them, foundation construction, roof construction, landscape construction, and fence construction were drawn as items that could be applied to traditional landscaping areas. Second, the traditional landscape space construction method was divided into the processes of foundation construction, roof construction, landscaping construction, and fence construction. Foundation construction is a way of repeating the process of land-tramping. During the construction of the roof, the tile-roofed building was built on top of the rafters and roofed with tiles. And thatched roof was made to a number of rice straws bundles to cover the roof one after the other. Instead of tiles, the stone roof was made of thin and wide stones, and the wooden boards were used for the single roof and the bark roof were constructed with many layers of dried corrugations. Landscape construction mainly consists of the Paving technique through tramping rubble and the construction of terraced flower by planting stone, plants, and shrubs on the top. According to the building materials, the wall construction was derived from the earth-stacked earthen wall, stone walls using stone and clay, marble walls made of tile patterns, and the construction of a board wall using a wood board as a wall. Third, comparing the construction methods of the 『Imwongyeongjeji』 「Seomyongji」 and 'Standard Specification for Repairing Cultural Heritages', 『Imwongyeongjeji』 「Seomyongji」 focuses on standardizing the construction methods to create a new traditional space. There is a difference in the setting of the scope of the 『Imwongyeongjeji』 「Seomyongji」 and the construction because 'Standard Specification for Repairing Cultural Heritages' provides the overall construction procedure considering the diversity of the cultural heritages. In addition, the traditional landscape space used to be a residential space in the past, but today, the maintenance process of the already established facilities as designated cultural heritages has been carried out, and construction methods have been added to create viewing conditions. In terms of the succession of traditional knowledge, some similar methods were found in the repair of cultural assets today, and some cases were also confirmed in the reconstruction of traditional technologies such as application of some materials or mix, separation of added facilities and introduction of efficient construction methods.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.38 no.4
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• pp.86-100
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• 2020

This study is the result of a design proposal to create a history and culture complex for the "Gungjip," an Important Folklore Cultural Heritage, and its surroundings located in Namyangju, Gyeonggi Province. In particular, the purpose is to introduce a new design approach to a historical and cultural complex consisting of the Gungjip House and Hanok annexes to be opened to the public in the future; and to provide its implications for future study. Although the architectural condition of Gungjip House is well preserved, several problems have been found in the use of the site as a public space due to the lack of a plan for systematic space experience, lack of specific spatial programs, and the too much shade due to uncontrolled green areas, etc. Therefore, the plan presented in this study largely sought to respect the meaning of historical landscape as a public space and to balance with the contemporary needs. The design strategies derived through basic research are to strengthen the sense of place as a cultural heritage; to respect the ecological characteristics of the site and visual harmony with the surrounding environment; and to suggest spatial programs suitable for the contemporary needs. Based on these strategies, the framework for the entire space is conceptually composed of four spaces; Oewon, Ganjeong, Jujeong, and Huwon, and proposes systematical land use and landscape experience. The main feature of this plan is the landscape approach, which aims to preserve the architectural cultural assets in their original form, but to create a reasonable land use and meaningful landscape experience based on the sense of place.

• Journal of Navigation and Port Research
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• v.38 no.3
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• pp.291-298
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• 2014

This article aims to understand the meanings of urban regeneration utilizing culture and art focusing on a case of the waterfront development in Yokohama, and consider the role of culture and art playing in the cultural city strategy within the revitalization of regional cultures as a main intention by means of interrogation into the cultural policy and its practice in the waterfront development of a sea-port city. Yokohama has proceeded successfully the waterfront development through the creation of culture and art space by using the characterful and attractive urban scape and regional sources around the waterfront. In the cultural policy of 'the Creative City, Yokohama' as a part of 'Culture and Art Creatvie City' strategy of Japan, 'National Art Park plan' as a space planning policy realizes the regeneration of the waterfront through the creation of culture and art space. The examination on the basic intention of this venture and its practice helps comprehend a role of culture and art playing in the waterfront development of a sea-port city and shows the direction that the cultural policy would take in the waterfront regeneration.