• 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.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.1
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• pp.66-75
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• 2012

The Seoul Metropolitan Government selected the sign designs of cultural heritages through a public prize contest from a public design perspective and applied the selected design format to the signs of the cultural assets that were designated by the central and Seoul governments and located in Seoul Metropolitan area in 2008. For the purpose of monitoring the result, this study analyzed the installation state of the signs of Seoul tangible cultural properties located in Jongno-gu. The scope of the analysis of this study was expanded to cover the surrounding areas of cultural heritages in order to review the arrangement and design of such signs. The result of this study can be summarized as follows; firstly, not only the flow of travelers' movement but also the direction of sight, their locations in relation to the surrounding facilities or other installations and the integration with similar signs or notices were necessary to be considered in the arrangement of the signs; secondly, the current sings had low quality in terms of durability and readability and seemed utterly distance from the cultural assets indicated by the signs because they were finished with tempered glass; thirdly, the size, shape and materials of the signs were not harmonized with their surrounding areas as only one design was used in the entire cultural property sites without considering such natural or artificial backgrounds of individual signs as rocks, plants, walls or buildings. When selecting the design format of the signs of individual cultural properties that are located dispersively as Seoul tangible cultural properties, it is recommended to determine a group of most representative designs based on natural, man-made and cultural landscape rather than one unified design format and to use a unique well-matched sign for each cultural property. For this reason, this study selected alternative exemplary design models and proposed the type of signs appropriate for each cultural site.

• Korean Journal of Remote Sensing
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• v.37 no.5_3
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• pp.1361-1371
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• 2021

Among smart city services, the crime and disaster prevention sector accounted for the highest 24% in 2018. The most important platform for providing real-time situation information is CCTV (Closed-Circuit Television). Therefore, it is essential to create the actual CCTV surveillance coverage to maximize the usability of CCTV. However, the amount of CCTV installed in Korea exceeds one million units, including those operated by the local government, and manual identification of CCTV coverage is a time-consuming and inefficient process. This study proposed a method to efficiently construct CCTV's actual surveillance coverage and reduce the time required for the decision-maker to manage the situation. For this purpose, first, the exterior orientation parameters and focal lengths of the pre-installed CCTV cameras, which are difficult to access, were calculated using the point cloud data of the MMS (Mobile Mapping System), and the FOV (Field of View) was calculated accordingly. Second, using the FOV result calculated in the first step, CCTV's actual surveillance coverage area was constructed with 1 m, 2 m, 3 m, 5 m, and 10 m grid interval considering the occluded regions caused by the buildings. As a result of applying our approach to 5 CCTV images located in Uljin-gun, Gyeongsnagbuk-do the average re-projection error was about 9.31 pixels. The coordinate difference between calculated CCTV and location obtained from MMS was about 1.688 m on average. When the grid length was 3 m, the surveillance coverage calculated through our research matched the actual surveillance obtained from visual inspection with a minimum of 70.21% to a maximum of 93.82%.

• Korean Journal of Heritage: History & Science
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• v.54 no.4
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• pp.246-259
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• 2021

Research has been conducted in various fields on a local fortress (eupseong) in the Joseon Dynasty, but the archaeological research on the prison (獄), which is part of the internal government, has not been conducted properly. Since the prison was first discovered in Gyeongju in 1997, there has been a necessity for research on the deployment and structure of the prison. This includes the office where jailers worked and had night duty and also the enclosure that keeps the prisoners inside. But the research came to a standstill because there was no comparative data. However, compared to the more recent findings of the Yeonil Prison and the Gonju Prison, we can identify that the structure was built during the early to the late Joseon Dynasty. King Sejong designed the standard prison blueprint called Anokdo (犴獄圖) in 1426 to manage prisoners nationwide and revised it once in 1439 to give better treatment during the winter and summer seasons. The Yeonil Prison operated from 1421 to 1743 and shows the structure of the prisons during the early to mid-Joseon period. It was very similar to the Gyeongju Prison on a smaller scale, which was operated until the late Joseon Dynasty with two main structures, one east and one west, and a circular fence. This structure was maintained even in the Gongju Prison during the late Joseon Dynasty, and it remains visible in photographs. The prison of the Joseon Dynasty had a circular fence with an estimated height of 3 meters and two buildings that separated male and female prisoners. The prison was divided into men on the east and women on the west with tile-roofed house structures that were difficult to escape. In front of the circular fence, there was an office with a thatched roof for the jailers and access to the prison was only possible through a double prison gate. The layout of the building reflects the improvements of the king's prison design made during Joseon Dynasty improving the environment of prisoners who are on trial and separating men and women in order to embody humanism.

• Korean Journal of Heritage: History & Science
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• v.48 no.3
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• pp.4-29
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• 2015

To protect cultural heritages from damage and destruction, evaluating the crime prevention environments is considered extremely important. This study analyzed the crime patterns related to cultural heritages, classified the crime environments by their types, and deduced the elements of the CPTED(Crime Prevention Through Environment Design), aiming to present the indices for evaluating the crime prevention environments. The results of this study can be summarized as follows. First, the crimes related to cultural heritages that must be prevented were identified as the night time trespassing and arson. According to the results of the analysis of external environments based on crime actions, the crime prevention environments of cultural heritages were classified into 10 types. Second, the important evaluation principles of the cultural heritage CPTED were the access control, surveillance reinforcement and the surrounding environment. Third, the access control that cover the internal region, boundary, external region and surroundings were classified into 22 indices. The surveillance reinforcement covers natural, organized and mechanical surveillance with 21 indices. Fourth, the applicability of the CPTED evaluation index was presented according to the types of the cultural crime prevention environments. The results confirmed that the maximum 43 indices were applicable to the seowon(lecture hall), hyanggyo(Confucian school), and gwana(district government office), and the minimum 10 indices, to the ramparts. Finally, the 43 indices were applied to Donam Seowon to validate their applicability. The results confirmed that most of the indices were applicable with the partial supplements. The evaluation index presented in this study is likely to contribute to studies in the cultural heritage CPTED field and to the protection of cultural heritages. Furthermore, this study is considered significant because it unleashed continuous concerns on and developments of CPTED. However, as the field survey to validate the applicability of the indices was limited to only one type, it may require further objective verification such as through an expert's examination of the validity and applicability of the evaluation index. In addition, to accommodate the index in related policies and systems, more precise verifications of the indices by type are considered necessary.

• Journal of the Daesoon Academy of Sciences
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• v.35
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• pp.359-392
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• 2020

In this paper, we examined the development of Chinese Taoist architecture, its cultural implications, and comprehensively summarized the core principles of the Taoist ecological ideas that are reflected in Taoist architecture. This is a groundwork for exploring an ideological model for sustainable ecological architecture in modern cities. Taoist architecture has a long history that has led to changes, developments, and a gradual maturation. Zhi (治), Lu (廬), and Jing (靖), were the first architectural forms of the early Taoist body. These formed the basis for the future development of Taoist Courts (宮觀). The state-sponsored government-run Taoist Courts established from the time of the North and South Dynasties to the time of Tang Dynasty led to a constant standardization of the rites, and these Courts gradually became more and more formalized. Since the establishment of Quanzhenjiao (全眞敎) in the early 12th century, a movement that emphasized putiy training, architecture for the ascetic practice emerged in remote natural spaces suitable for strict ascetic practices. Meanwhile, in Taoist architecture, the type and structure of buildings were strengthened in order to worship various gods. The various Taoist Courts established through this historical process embody the elements, institutions, and ecological ideas of Taoist culture. Taoist architecture basically pursued the idealism of Paradise in a Deep Cave (洞天福地) and adopted a feng-shui theory of using natural terrain artfully in selecting a place and building a layout. This was reflected through their ecology. Meanwhile, Taoist architecture does not destroy the balance of nature by emphasizing the utilization of local natural resources whenever possible while selecting building materials according to the principles of yinyang and the five movements (陰陽五行). In addition, Taoism aims to select simple places for practising asceticism and ancestral rituals whenever possible because of the need to maintain a simple mind, suppress desire, and return to a state of purity. This attitude is an indication of a kind of simple ecological ideas and value of frugality easily found in Taoism. The ecological ideas of Taoism provide abundant resources for considering solutions to the ecological crisis that arises in the creation of residential environments. Through the ecological ideas of Taoism, we can find a direction to understand the relationship between human beings and nature while creating new, sustainable residential environments.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.40 no.1
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• pp.65-73
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• 2022

This paper analyzed the characteristics of ancient villages in Hongcun and the method of resetting the preservation area for the preservation of the changed historical and cultural space in Hongcun through the process of change. To this end, the current status of preservation areas and utilization areas in the village was identified through ancient documents, old paintings, policy materials, and interviews related to the village, and through this, the problem of resetting the preservation area was examined. As a result, the following conclusions were drawn. First, Hongcun is a village built under the influence of Confucianism, Buddhism, and Taoism, and the spatial organization was created according to the hierarchy of Confucianism. As a result, it was possible to inherit and preserve the heritage of ancestors even though the central government did not preserve it. Second, the concept of preservation in a limited sense has been applied as Hongcun has been recognized as a cultural heritage that has been passed down since ancient times, but the Great Leap Forward and the Cultural Revolution brought about changes in the village space. Since then, ancient buildings, water systems, and forests have been preserved through regulations on new construction and expansion of a building with the Hongchon preservation plan, but the development within the preservation area is underway due to changes in the lives of original inhabitants, which were followed by continued development pressure and reform and opening. Third, the original inhabitant of ancient villages had a high perception of the value of the heritage, but they demanded the preparation of measures to improve living conditions and create profits, and the active use of villages for this. Fourth, the forest consisting of old trees is being restored, but the gardens in the old house are showing a phenomenon that the garden space is reduced or transformed for use. The bridges and parking lots were newly built in the southern area, which was extended from the western area, the original entrance to the ancient village, resulting in changes in the existing entrance. This was found to be the primary cause of the spatial change of the ancient village, as the road system was modified to make it convenient for tourists to enter and exit. Fifth, the existing preservation area should be reset and preserved by resetting the preservation route centered on Wolso(half Moon Pool), while the surrounding area should be set as a direct and indirect experience space, and according to the hierarchy of each space, the utilization should proceed while the preservation is carried out by crossing the preservation and the utilization.

• Korean Journal of Heritage: History & Science
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• v.56 no.4
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• pp.94-108
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• 2023

Onyanghaenggung Palace(temporary palace at Onyang) is an important cultural heritage that can substantially confirm the king's onhaeng(溫行) base on literature records such as <Ongungyeonggoedae(溫宮靈槐臺)>, <Oncheonhaenggungdo(溫泉行宮圖)> of 『Ongungsasil(溫宮事實)』『, Younggoedaegi(靈槐臺記)』and cultural property such as Yeonggoedae(靈槐臺) and Shinjeong Monument(神井碑). As the Onyang Tourist Hotel is located in the presumed site of the Onyanghaenggung Palace, even the identity of the Onyanghaenggung Palace site is being threatened without restoration efforts. The purpose of this study is to estimate the location of Onyanghaenggung Palace based on <Oncheonhaenggungdo> before the damages during the Japanese colonial period. To achieve these purposes, records related to Onhaeng during successive kings' terms in the Joseon Dynasty are first reviewed, before changes in the architecture of Onyanghaenggung Palace that took place in the Joseon Dynasty and damage suffered during the Japanese colonial period are summarized, and finally <Oncheonhaenggungdo>, <Eupji>, <Ancient Maps>, <Jijeokwondo> are reviewed. Based on these processes, the location of Onyanghaenggung Palace is estimated by comparing the current Onyang Tourist Hotel and the surrounding area. The results of this study are as follows. First, if the 1,758 cheok(尺) of 「Onyanggun eupji」 and 「Hoseo eupji」 are converted in Jucheok(周尺), the scope of Onyanghaenggung Palace is close to the inner circumference of the site(垈) in Jijeokwondo(1914). Second, the streamlet leading to Oncheoncheon(溫泉川) from the southern side of Onyanggwan(溫陽館), the hot spring hole in use of <Distribution Map of Hot Spring(溫泉分布見取圖)>(1925, 1928), and considering the relationship of the inner east gate(內東門), Bigak(碑閣), Sinjeong(神井) of <Oncheonhaenggungdo>, the building of Hermann Gustav Theodor Sander and the Copyright Commission's Onyang Hot Springs photograph can be estimated as the Onyanghaenggung Palace Hot-spring, namely Tangsil(湯室). Third, in the process of developing to amusement park, the transfer and relocation of the Yeonggaedae site(a governmentowned property) was requested by Gyeongnam Railway Company, but Chungcheongnam-do denied transfer and relocation of the Yeonggaedae because of the importance in the history of Onyang Hot Springs, so the government-owned Yeonggaedae Monument site were permanently preserved at the current location together with the hoe tree(Sophora japonica L.). Also, Yeonggoedae in <Tourists Attractions around Gyeongnam Railway in Joseon (朝鮮京南鐵道沿線名所交通図絵)> (1929) is shown to exist in its current location, and it can be seen that the Shinjeong Monument Pavilion was moved to the front of Shinjeonggwan (神井館). Based on the circumference of Onyanghaenggung Palace, the location of Onyanghaenggung Palace Hot Spring (Tangsil) and Yeonggaedae Monument Pavilion, changes in roads and lots of land during the Japanese colonial period and the modern period, as well as the location of Onyanghaenggung Palace and other major buildings, can be estimated to extend to the current Shimin-ro and Onyang Hot Spring Market.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.35 no.2
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• pp.26-44
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• 2017

Regarded as Korea's traditional pond, Gungnamj Pond was surmised to be "Gungnamji" due to its geological positioning in the south of Hwajisan (花枝山) and relics of the Gwanbuk-ri (官北里) suspected of being components to the historical records of Muwang (武王)'s pond of The Chronicles of the Three States [三國史記] and Sabi Palace, respectively, yet was subjected to a restoration following a designation to national historic site. This study is focused on the distortion of authenticity identified in the course of the "Gungnamji Pond" restoration and the invention of tradition, whose summarized conclusions are as follows. 1. Once called Maraebangjuk (마래방죽), or Macheonji (馬川池) Pond, Gungnamji Pond was existent in the form of a low-level swamp of vast area encompassing 30,000 pyeong during the Japanese colonial period. Hong, Sa-jun, who played a leading role in the restoration of "Gungnamji Pond," said that even during the 1940s, the remains of the island and stone facilities suspected of being the relics of Gungnamji Pond of the Baekje period were found, and that the traces of forming a royal palace and garden were discovered on top of them. Hong, Sa-jun also expressed an opinion of establishing a parallel between "Gungnamji Pond" and "Maraebangjuk" in connection with a 'tale of Seodong [薯童說話]' in the aftermath of the detached palace of Hwajisan, which ultimately operated as a theoretical ground for the restoration of Gungnamj Pond. Assessing through Hong, Sa-jun's sketch, the form and scale of Maraebangjuk were visible, of which the form was in close proximity to that photographed during the Japanese colonial period. 2. The minimized restoration of Gungnamji Pond faced deterrence for the land redevelopment project implemented in the 1960s, and the remainder of the land size is an attestment. The fundamental problem manifest in the restoration of Gungnamji Pond numerously attempted from 1964 through 1967 was the failure of basing the restorative work in the archaeological facts yet in the perspective of the latest generations, ultimately yielding a replication of Hyangwonji Pond of Gyeongbok Palace. More specifically, the methodologies employed in setting an island and a pavilion within a pond, or bridging an island with a land evidenced as to how Gungnamji Pond was modeled after Hyangwonji Pond of Gyeongbok Palace. Furthermore, Chihyanggyo (醉香橋) Bridge referenced in the designing of the bridge was hardly conceived as a form indigenous to the Joseon Dynasty, whose motivation and idea of the misguided restoration design at the time all the more devaluated Gungnamji Pond. Such an utterly pure replication of the design widely known as an ingredient for the traditional landscape was purposive towards the aesthetic symbolism and preference retained by Gyeongbok Palace, which was intended to entitle Gungnamji Pond to a physical status of the value in par with that of Gyeongbok Palace. 3. For its detachment to the authenticity as a historical site since its origin, Gungnamji Pond represented distortions of the landscape beauty and tradition even through the restorative process. The restorative process for such a historical monument, devoid of constructive use and certain of distortion, maintains extreme intimacy with the nationalistic cultural policy promoted by the Park, Jeong-hee regime through the 1960s and 1970s. In the context of the "manipulated discussions of tradition," the Park's cultural policy transformed the citizens' recollection into an idealized form of the past, further magnifying it at best. Consequently, many of the historical sites emerged as fancy and grand as they possibly could beyond their status quo across the nation, and "Gungnamji Pond" was a victim to this monopolistic government-led cultural policy incrementally sweeping away with new buildings and structures instituted regardless of their original space, and hence, their value.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.40 no.2
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• pp.1-13
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• 2022

This paper examined the history and development of Gyeongbokgung Palace's back garden based on historical materials and drawings such as Joseon Ilgi(Diaries of Joseon Dynasty), Joseon Wangjo Sillok(the Annals of the Joseon Dynasty), Doseongdaejido(the Great Map of Seoul), Bukgwoldohyeong(Drawing Plan of the Northern Palace), the Bukgung Palace Restoration Plan, Restoration Planning of Gyeongbokgung Palace and the following results were derived. First, it was confirmed that the Back Garden of Gyeongbokgung Palace was famous for its great location since the Goryeo Dynasty, and that it was named Namkyeong at that time and was a place where a shrine was built, and that castles and palaces were already built during the Goryeo Dynasty under the influence of Fengshui-Docham(風水圖讖) and Zhouli·Kaogongji(周禮考工記). Although the back garden of Gyeongbokgung Palace in the early Joseon Dynasty stayed out of the limelight as a back garden for the palace, it has a place value as a living space for the head of the state from King Gojong to the present. Second, in order to clearly identify the boundaries of back garden, through literature such as map of Doseongdo (Map of the Capital), La Coree, Gyeongmudae Area, Japanese Geography Custom Compendium, Korean Photo Album, JoseonGeonchukdoJip(The Illustration Book of Joseon Construction), Urban Planning Survey of Gyeongseong, it was confirmed that the current Blue House area outside Sinmumun Gate was built outside the precincts of Gyeongbokgung Palace. It was found that the area devastated through the Japanese Invasion of Korea in 1592, was used as a space where public corporations were combined through the process of reconstruction during the King Gojong period. In Japanese colonial era, the place value as a back garden of the primary palace was damaged, as the palace buildings of the back garden was relocated or destroyed, but after liberation, it was used as the presidential residence and restored the place value of the ruler. Third, in the back garden of Gyeongbokgung Palace, spatial changes proceeded through the Japanese Invasion and Japanese colonial era. The place with the greatest geographical change was Gyeongnongjae area, where the residence of the Japanese Government-General of Korea was built, and there were frequent changes in the use of the land. On the other hand, the current Gyeongmudae area, the forests next to the small garden, and the forests of Baekak were preserved in the form of traditional forests. To clarify this, 1:1200 floor plan of inner Gyeongmudae residence and satellite images were overlapped based on Sinmumun Gate, and as a result, it was confirmed that the water path originating from Baekak still exists today and the forest area did not change. Fourth, in the areas where the traditional forest landscape was inherited, the functional changes in the topography were little, and major old-age colonies are maintained. The old trees identified in this area were indicator tree species with historical value. Representatively, Pinus densiflora for. multicaulis Uyeki, located in Nokjiwon Garden, is presumed to have been preserved as one of Pinus densiflora for. multicaulis Uyeki planted next to Yongmundang, and has a historicality that has been used as a photo zone at dinners for heads of state and important guests. Lastly, in order to continuously preserve and manage the value of Gyeongbokgung Palace in Blue House, it is urgent to clarify the space value through excavation of historical materials in Japanese colonial era and establish a hierarchy of garden archaeology by era. In addition, the basis for preserving the historical landscape from the Joseon Dynasty to the modern era from Gyeongbokgung Palace should not damage the area of the old giant trees, which has been perpetuated since the past, and a follow-up study is needed to investigate all the forests in Blue House.