• Journal of the Korean Institute of Landscape Architecture
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• v.46 no.6
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• pp.75-84
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• 2018

The inclusive playground is a playground where disabled children and non-disabled children can play together, not a playground for the disabled. It started with the change of social awareness of the citizenship rights of disabled people in the 1960s and the resulting playgrounds. Since then, inclusive playgrounds have been developed in many countries, and these are organized in the form by guidelines. In Korea, social interest in inclusive playgrounds is increasing, but there are no systematic guidelines in Korea, and the application of overseas cases or guidelines is limited. The purpose of this study is to classify the concept of inclusive playgrounds and design guidelines, that were previously presented in inclusive playground design guideline of various countries and analyze the characteristics of, design scope, and design principles, and provide a basic framework for creating guidelines. The purpose of the design guideline was to present specific numerical values to the inclusive playground design guidelines, to link with academic research and industrial products, to present pursuit values, and to expand the value of pursuing design methods. The contents were covered by scope, conceptualization, principles of design and design process, design guidelines, and checklists. Most of the guideline covers specific autonomous governments or countries that can apply the related systems or laws, but the composition of the detailed contents is different. The guiding value of inclusive playgrounds presented in each guideline is not a playground for the disabled but a playground for all, and some guidelines refer to the difficulty in playgrounds considering non-disabled children. Based on these concepts, design guidelines are presented in each guideline. Improving the accessibility in design principles is a common theme and adds to the principles of safety, independence, convenience, and playability. None of the guidelines do not provide design guidelines. Although there is a difference in the degree and method of specificity provided by each of the guidelines, the design guidelines can be generally summarized as space, copper line, and unit facilities. As mentioned in many guidelines, an inclusive playground is not only a playground for children with disabilities. Therefore, in the design guidelines, it is also important to the support play of children with disabilities and to induce inclusive play. The design guidelines presented in the guideline can be rearranged into three stages of 'supporting the play of children with disabilities', 'securing the dimensions and materials of spaces and facilities', 'adding auxiliary devices' and 'designing new facilities'. There are three design guidelines for inducing inclusive play. First, by creating various difficulty levels and intersecting spaces, children with various abilities can play with each other, and at the same time, they can interact witheach other. Second, all children can cooperate and play without distinction between children with disabilities and non-disabled children. Finally, the guardian provides the conditions for efficient support so that the disabled child can fully enjoy the inclusive playground.

• Pediatric Infection and Vaccine
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• v.26 no.1
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• pp.32-41
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• 2019

Purpose: In order to prevent tuberculosis transmission early, it is important to diagnose and treat tuberculosis infection by investigating people who have contact with patients with active tuberculosis. Methods: From July 2014 to June 2017, the intrafamilial childhood contacts of the patients who were diagnosed with active tuberculosis at Chungnam National University Hospital were investigated for the presence of tuberculosis infection. We also retrospectively analyzed the treatment status of children treated with latent tuberculosis infection (LTBI) during the same period. Results: Among the 269 children who had intrafamilial contact with active tuberculosis patient, 20 (7.4%) did not receive any screening. At the first screening, one (0.4%) was diagnosed with pulmonary tuberculosis, seven (2.8%) had a previous history of tuberculosis infection, and 42 patients (16.9%) were diagnosed with LTBI. At the second screening, 29 patients (11.6%) were diagnosed with LTBI, and 61 patients did not finish the investigation. Only 188 (69.9%) out of 269 patients completed the investigation. Ninety patients received treatment for LTBI and 83 patients (92.2%) completed the treatment, of which 18 patients had side effects such as rash, fatigue, and gastrointestinal symptoms. However, there were no serious side effects requiring treatment discontinuation. Conclusions: The completion rate of childhood tuberculosis contact investigation was low, but the completion rate of LTBI treatment was high in children without serious side effects. In order to prevent and manage the spread of tuberculosis, active private-public partnership efforts and education of the patient and guardian are needed.

• Korean Journal of Heritage: History & Science
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• v.53 no.4
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• pp.250-273
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• 2020

The three-story stone pagodas in Hyeon-ri and Hwacheon-ri,Yeongyang Gyeongsangbuk-do are stone pagodas that exhibit the typical style of Unified Silla. The two pagodas are believed to have been built in the mid- and late 9th centuries at the latest, considering the style of the three-story roof stone on top of the double-tier base. This is also confirmed by the reliefs carved at the base and the first-story of the pagoda. The Four Heavenly Kings and the Twelve Zodiacal Animal Deities were first combined in the late 8th century in the stone pagoda at the Wonwonsa Temple Site, and the Eight Classes of Divine Beings was also the most popular carved pagoda reliefs in the 9th century. However, the two Yeongyang stone pagodas are characterized by a combination of the Four Heavenly Kings (1st story), the Eight Classes (top base), and the Twelve Zodiacal Animals (lower base), and the stone used for the pagoda consists of sedimentary rocks of the sandstone family, which comprise most of the geological strata in the Yeongyang area, rather than ordinary granite. The new combinations of the three types of guardian deities and the Eight Classes changed from seated to standing poses is interpreted as an attempt to enhance the Buddhist faith and cultural status of the Yeongyang area, along with the fact that the stone pagoda was built using local natural materials. The Eight Classes of the Yeongyang stone pagoda does not follow the two types of arrangement of the pagodas with the Eight Classes, but some of the deities have been relocated to a new location. Composed of AsuraGandharva on the east side, Naga-Mahoraga on the south, Deva-Garuda on the west, and Kimnara-Yaksa on the north, this form can be classified as a unique 'third layout of the Eight Classes' in the Yeongyang area. Such changes in the shape and posture of the reliefs reflect a new perception of the pagodas. The reason why the Gandharva and Yaksa statues were carved on the east and north sides, respectively, was because they were deemed subordinate to the Four Heavenly Kings, and the fact that the Naga and the Mahoraga were carved on the south side was presumed to have influenced the geographical location of the two pagodas on the northern side of Banbyeoncheon Stream. The Hyeon-ri and Hwacheon-ri three-story stone pagodas inherited the tradition of typical Unified Silla-period pagodas, while also bearing their own new regional characteristics.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.2
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• pp.139-148
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• 2011

This study has a purpose of base study for ascertaining landscape architect's role of Reung Chambong through analyzing old literature include Kyungkukdae-Jeon, Sokdae-Jeon, Daejeonhoitong, Joseonwangjo-Sillok, Eugye, Reung-Ji, Ilsung-Rok, Reung Chambong's diary. Reung Chambong was a government post in the Joseon dynasty, who managed Royal Tombs of Joseon Dynasty that has promoted as a World Heritage of UNESCO. the conclusions drawn from this study are as follows. First, Reung Chambong was comprised of two Jong 9 pum Chanmbong members. a position of Reung Chambong was a Eumjik appointed Saengwon, Jinsa, Yuhak completed Sammang. the standards of appointment is a experienced person and too young. it became means for accessing a government post because it had a symbolic representation of Royal Tombs guardian. Second, The management system of Reung Chambong was approved on the basis of ranking. however, due to geographical reasons, they had much authority and various mission than is possible. for example, construction supervisor of the Reung and Bongsim, manager of the Reungsuhogun and filling out Reungji. they performed an important role in management of Royal Tombs in the Joseon dynasty. Third, One of tasks related in landscape architecture, a Bongshim reported Sukmul(stonework), Sacho, Jungja-Gak of Reungsang to Yejo periodically. formational system and method of Bongshim are provided in the Kyungkukdae-Jeon and Sokdae-Jeon detailedly. Fourth, Tree management and construction supervisor of Reungsang, positions among tasks related in landscape architecture, required basic understanding and management ability of botany, various eye for spatial perception includes civil and architectural projects. also, as a site management of Royal Tombs in the Joseon dynasty, Reung Chambong was empowered tacit authorization and responsibility in mobility preoccupancy of vertical relationship with local officials and handling by-product of site. there is a close correspondence with landscape architect of today. A follow-up research is required to ascertain landscape architect historical values of Royal Tombs in the Joseon dynasty and Reung Chambong's role as a site management of Royal Tombs in the Joseon dynasty through historical seeking and research old literature on Reung Chambong's role related in landscape architect.

• Korean Journal of Heritage: History & Science
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• v.54 no.1
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• pp.100-119
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• 2021

This paper has been written to verify the existing theory that districts occurred independently in various parts of the world, including the Korean Peninsula. Song Giho (2006) claims that the origin of the Gudle, is an example of polygenism that occurred in various areas in the world, including the Korean peninsula. This argument has been corroborated by a large number of researchers. However, it is difficult to understand the lineage of Gudle and its process of development, if a theory of polygenism is continued to be taken into account. The place which is targetet by this theory is the North-West area of the Korean peninsula, south of Primorsky Krai, and in the northern area of Zabaikal-Mongolia. This means that these areas developed independently because they were far from each other and had no direct cultural relationship. However, the structure of Gudle, shape, and assemblages of earthenware it cannot be explained by polygenism, as they are the same in every place. Furthermore, it is also questionable as to the timing and region of emergence of the culture in East Asia over a limited time frame of 3-2 BC. Gudle are formed by furnaces with roofs and walls, Gorae, which saves heat, and it has smoke ventilation that draws smoke out. Therefore, the Gudle is not a structure that anyone can make without advanced technical understanding. So far, the only facility with furnaces and smoke ventilation that appear before the Gudle is Buttumak. Thus, the Gudle is likely to have been invented in the place where Buttumak were used. The area as known for the origin of Gudle was observed to verify the existence of the Buttumak's structure, but none of these facilities were found. The Gudle suddenly appeared within a new culture that had never existed before. That means that none of the three places had the conditions under which the Gudle could be invented, so it must have been introduced from outside. In conclusion, the three places that I mentioned above are not the origin of Gudle. So, the origin of Gudle has to be found elsewhere.

• Journal of Environmental Impact Assessment
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• v.32 no.1
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• pp.1-14
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• 2023

When carrying out development projects around Ardeidae breeding habitats, we intend to devise a plan for sustainable coexistence by presenting measures to select and reduce key evaluation items so that conflicts can be prevented in advance at the environmental impact assessment stage. The results of the study are as follows. The main evaluation items are animal and plant items for preservation of Ardeidae breeding habitats and odor and noise items that can evaluate the effects of odors and noise in Ardeidae breeding habitats. First, the scope of the survey in animals and plants categories is not limited to legal guardian species, but includes egrets breeding and feeding grounds corresponding to major species breeding grounds and migratory birds, and preservation measures are established according to the reduction of the area of breeding and feeding grounds. Second, in the odor category, the irradiation period includes the period when the odor generation is the highest from the end of June to the end of July. The odor evaluation standard is based on the complex odor discharge standard, which is a concentration regulation, and the odor concentration felt by humans shall be 2 to 5OU/m³ and the frequency shall be 2% or less. Third, in the noise category, the timing of the survey is measured every month from May to August, including when the sound of egrets and young birds is combined to maximize noise generation. Since the noise of Ardeidae, a bird in summer, occurs only for a certain period of time, measures are taken to reduce noise by securing separation distances, securing buffer green areas, and installing construction rather than installing artificial structures such as soundproof walls. In order for existing Ardeidae breeding sites to maintain an appropriate density of populations and not move populations elsewhere, it is necessary to manage nesting tree and maintain stable habitat quantity and quality.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.1
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• pp.46-56
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• 2012

The research results of tracing the Landscape Philosophy of Hageowon garden(何去園) in Musu-dong, Daejon of Youhwadang, Kwon, Iijin(權以鎭, 1668-1734) is as below. The ideological background of the protagonist reflected in Hageowon is the Hyoje Ideology(filial piety and brotherly love, 孝弟) of Sinjongchuwon(painstakingly caring for one's ancestors), Musil ideology(pursuing ethical diligence and truthful mind, 務實) based on sadistic tradition and ethical rationalism, Confucionist Eunil Ideology(ideology on seclusion, 隱逸) of Cheonghanjiyeon(quiet relaxation, 淸閒之燕), and the Pungryu ideology(appreciation for the arts, 風流) of Taoism in the Taoist style. Thus, by substituting these ideological values into a space called Hageowon, the Byulup gardens(別業) such as the Symbolic garden(象徵園), meaning gaeden(意園), and miniascape garden(縮景園) were able to be constructed. 2) The space organization system of Hageowon is generally classified into three phases considering the hierarchy. The first territory is the transitional space having residential features, which is an area to reach peach tree - road(Taoist world 桃經) from Youhwadang(有懷堂). The second territory is a monumental memorial space where the Yocheondae(繞千臺), Jangwoodam(丈藕潭), Hwagae(花階), and the ancestral graves take place, centering on the yards of Sumanheon(收漫軒), and the third territory is the secluded space in the eastern outer garden where the mountain stream flows from the north to south and which is the vein of the left-hand blue dragon(靑龍) of the guardian mountain of Hageowon. 3) Symbolically, the first phase has symbolized the space as a meaningful scenery by overlapping the Confucionist place of Youhwadang - Gosudae(孤秀臺) - Odeokdae(五德臺), and the mystic world of Jukcheondang(竹遷堂) - peach tree - road(桃徑). The second phase, which is the space of Sumanheon(收漫軒), Yocheondae, and Jangwoodam, the symbolical value of Sinjongchuwon(愼終追遠) and the remembrance and longing for one's parents are reflected. The third phase, which is the eastern outer garden of Hageowon and where the mountain stream flows from the north to south, is composed of the east valley(東溪) - Hwalsudam(活水潭) - Sumi Waterfall(修眉瀑布). More specifically, (1) Mongjeong symbolizes the life of gaining knowledge through studying to realize one's foolishness, (2) Hwalsudam symbolizes a transcending attitude in life refusing to pursue wealth and fame, and (3) Jangwoodam symbolizes the gateway to the fairyland to enter the world of mystic gods. 4) The rationale behind Hageowon is that the two algorithms of Confucionism and Taoist Theory appear repeatedly and in an overlapping way. The Napoji(納汚池) and Hwalsudam, which pertains to the prelude of space development, has symbolized Susimyangseong(修心養成, meditating one's mind and improving one's nature), which is based on ethical rationalism. Moreover, if the Monjeong sphere pertaining to the eastern outer garden of Hageowon takes the Confucionist value system as its theme, including moral training, studying, and researching, Jangwudam, Sumi Waterfalls, and Unwa can be understood as a taste of Cheokbyeon(滌煩, eliminating troubles) for the arts where the mystic world is substituted as a meaningful scenery. 5) The miniascape technique called artificial mountain was substituted to Hageowon to construct a mystic world like the 12 peaks of Mt. Mu(巫山). By borrowing the symbolic meaning expressed in old poems, it has been named 'Habang(1/何放), Hwabong(2, 3/和峯), Chulgun(4, 5, 6/出群), Sinwan(7/神浣), Chwhigyu(8, 9, 10/聚糾), Cheomyo(11/處杳), Giyung(12/氣融).' The representative poet reciting artificial mountain were Wangeui(汪醫), Nosamgang(魯三江), Dubo(杜甫), Hanyou(韓愈), Jeonheaseong(錢希聖), and Beomseokho(范石湖). They related themselves with literature by transcending time and space and attempted to sing about the richness of the mental world by putting the mystic world and culture of appreciating the arts they pursued in the vacation home called Hageowon.

• (The) Research of the performance art and culture
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• no.18
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• pp.513-557
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• 2009

The procession depicted in Goguryeo's ancient tomb mural consists of guards, honor guards, music band, and performing artists. Since this coincides with the royal processions of Goryeo and Joseon Dynasties, the relationship of its impact can be examined. The performing arts appearing in such street procession were mostly sanakbaekhui. During the Goryeo Dynasty, the king visited Bongeunsa templ when the lotus lantern festival was celebrated. At such time, on the left and right sides of the road travelled by the king were installed mountains made of lanterns and trees made of lanterns. The procession was quite large in scale and was accompanied by colorful music and performances. In the narye ceremony of the Goryeo Dynasty, as in China, street procession and performing arts took place. The jisinbarbgi performed by a peasant band in early January is a custom of narye. A new character appears in the royal narye during the first half of the Joseon period. Therefore the features of narye transforming according to the changes of the times can be examined. In the Joseon Dynasty's procession of a king returning to the palace, the royal band in front and behind the carriage of the king played marching music, and led by a sanbung this street procession headed toward the palace. Various performances also took place during this time. The samilyuga and munhuiyeon were festivals of the yangban class(nobility). Those who passed the state examination hired musicians and performers and paraded around town in Seoul for three days to celebrate the auspicious outcome for their family and to show off their family's power. In the Joseon's dongje and eupchijeui ceremonies, street processions were carried out with a shrine deity image or symbolic flag at the head. The dongje in a Korean village, combined with jisinbarbgi, incorporated a procession with the flags ymbolizing the guardian deity of the village at the head, and this went from house to house. The procession of suyeongyaru had the publicity impact of a mask play performance, and by creating a sense of unity among the participants, heightened the celebratory atmosphere. At the core of the bukcheonggun toseongri gwanweonnori was as treet procession imitating the traveling of high government officials. The toseong gwanweonnori has the folk religion function of praying for safe human living and abundance of grains for the village, the entertainment function of having fun and joy through street processions and various performances, and the social function of creating unity and harmony among the residents. In all the aforementioned events, the street procession had a large role in creating a celebratory atmosphere, and the performance of traditional performing arts in the middle of the procession or after the procession enabled the participants to feel united. The participants of the street procession felt cultural pride and self-confidence through the various events and they were able to have the opportunity to show off and proudly display their abilities.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.1
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• pp.52-64
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• 2015

This research traced the characteristics of the semantic landscape, construction intent, landscape composition, and geomantic conditions of the area subject to the research based on the research methods of 'field investigation, document studies, and interviews,' centering around the entire area of Gokseong Hamheo-pavilion (Jeonnam Tangible Cultural Assets No. 160). The result of the research, specifically revealing the forms and methods by which the reciprocal view of nature and landscape composition appearing in the landscape of the entire area of Hamheo-pavilion, as part of the analysis and interpretation over the view-based construction characteristics and position of the entire area of Gokseong Hamheo-pavilion, can be summarized as follows. First, Hamheo-pavilion is a pavilion built as a resting area and as a venue for educational activities in 1543 in the nearby areas after Gwang-hyeon Sim founded Gunjichon-jeongsa for educational activities and dwelling purposes at Gunchon at the 30th year of King Jungjong. Gunchon, where Hamheo-pavilion and Gunjichon-jeongsa is located, exhibits the typical form having water in the front, facing Sunja-river(present Seomjin-river), and a mountain in the back side. Dongak-mountain, which is a guardian mountain, is in a snail-type form where cows leisurely ruminate and lie on the riverside, and the Hamheo-pavilion area is said to be an area bordering on one's way of enjoying peace and richness as it is a place with plentiful grass bushes available for cows to ruminate and lie down while sheppards may leisurely play their flutes at the riverside. The back hill of Hamheo-pavilion is a blood vessel that enters the water into the underwater palace of the turtle, and the building sitting on the turtle's back is Hamheo-pavilion, and the Guam-jodae(龜巖釣臺) and lava on the southern side below the cliff can be interpreted to be the underwater fairly land wanted by the turtle.6) Second, Hamheo-pavilion is the scenery viewpoint of Sungang-Cheongpung (3rd Scenery) and Seolsan-Nakjo(雪山落照, 9th Scenery) among the eight sceneries of Gokseong, while also the scenery viewpoint of Hamheo-Sunja(2nd Scenery) and Cheonma-Gwiam(天馬歸岩, 3rd Scenery) among the eight sceneries of Ipmyeon. On the other hand, the pavilion is reproduced through the aesthetics of bends through sensible penetration and transcendental landscape viewed based on the Confucian-topos and ethics as the four bends among the five bends of Sunja-river arranged in the 'Santaegeuk(山太極) and Sutaeguek(水太極, formation of the yin-yang symbol by the mountain and water)' form, which is alike the connection of yin and yang. In particular, when based on the description over Mujinjeong (3rd Bend), Hoyeonjeong(4th Bend), andHapgangjeong(2nd Bend) among the five bends of Sunja-river in the records of Bibyeonsainbangan-jido(duringthe 18th century) and Okgwahyeonji(1788), the scenery of the five bends of Sunja-river allow to glimpse into its reputation as an attraction-type connected scenery in the latter period of the Joseon era, instead of only being perceived of its place identity embracing the fairyland world by crossing in and out of the world of this world and nirvana. Third, Hamheo-pavilion, which exhibits exquisite aesthetics of vacancy, is where the 'forest landscape composed of old big trees such as oak trees, oriental oak trees, and pine trees,' 'rock landscape such as Guam-jodae, lava, and layered rocks' and 'cultural landscape of Gunchon village' is spread close by. In the middle, it has a mountain scenery composed of Sunja-river, Masan-peak, and Gori-peak, and it is a place where the scenery by Gori-peak, Masan-peak, Mudeung-mountain, and Seol-mountain is spread and open in $180^{\circ}$ from the east to west. Mangseo-jae, the sarangchae (men's room)of Gunjichon-jeongsa, means a 'house observing Seoseok-mountain,' which has realized the diverse view-oriented intent, such as by allowing to look up Seol-mountain or Mudeung-mountain, which are back mountains behind the front mountain, through landscape configuration. Fourth, the private home, place for educational activities, pavilion, memorial room, and graveyard of Gunji-village, where the existence and ideal is connected, is a semantic connected scenery relating to the life cycle of the gentry linking 'formation - abundance - transcendence - regression.' In particular, based on the fact that the descriptions over reciprocal views of nature regarding an easy and comfortable life and appreciations for a picturesque scene of the areas nearby Sunja-river composes most of the poetic phrases relating to Hamheo-pavilion, it can be known that Hamheo-pavilion is expressed as the key to the idea of 'understanding how to be satisfied while maintaining one's positon with a comfortable mind' and 'returning to nature,' while also being expressed of its pedantic character as a place for reclusion for training one's mind and training others through metaphysical semantic scenery.