• Journal of Korean Society of Forest Science
• /
• v.89 no.5
• /
• pp.576-584
• /
• 2000

The term 'greenways' is a fairly new one. The term greenways refer to linear corridors which set aside pieces of nature. The objective of this study was to find out the feasibility of developing greenways in Taegu. Sample of 446 trail users were asked to describe their use patterns and as well as their perceptions of the benefits and problems associated with trails through on-site interviews conducted during the months of July and August of 1999. Trail users in Taegu were predominately male(61%) and over half of the respondents used private vehicle to access to the study areas as compared to 2% of respondents used bicycle. Trail users responded that health & fitness and open space preservation were the two most important benefits, and the provision of trail access to disabled persons was ranked last. As problems at study areas, lack of interpretive information was the biggest problem followed by lack of drinking water, poor trail marking/signs and not enough information. Most(94.1%) of the trail users surveyed indicated that they would support greenways development and 96.8% of respondent would use after greenways development. Willingness to pay for developing greenways was assessed with hypothetical scenario. Average willingness to pay in the survey was 10,200 won as a tax. The development/application of greenways in Taegu would work best when establish a network of trails with environmentally sensitive manner.

• Journal of Environmental Impact Assessment
• /
• v.30 no.6
• /
• pp.361-379
• /
• 2021

About 10% of trees damaged by the development projects are to be transplanted when conducting the Environmental Impact Assessment. However, various problems have been raised during transplantation. In this study, we confirm the stakeholder's perceptions of the problems that occur during transplantation. The survey was conducted from October 9 to 25, 2020. Among the stakeholder groups, 36 respondents participated in the consulting institute group, 44 from the review institute group, and 83 from the developer·agency group (total of 163). All three groups responded that it was necessary to transplant some of the damaged trees even if the development charge increased because the damage caused by the development project was serious. The most serious problem was 'high mortality'. The response rate was high that all three groups should plant the same species with the same quantity as an alternative method in case of withering. In order to reduce the mortality rate, small-sized trees were transplanted and transplanted trees were expanded to include planted species and landscape trees. In addition, the number of transplanted trees was high in response to calculating the transplantratio to the number of native tree damaged. The percentage of respondents who said that it was necessary to allocate a separate manager was also high. The results will be used as basic data to improve problems that occur during transplantation of damaged trees.

• Korean Journal of Environment and Ecology
• /
• v.36 no.3
• /
• pp.350-357
• /
• 2022

A national park is a place to conserve natural resources and visitors to experience nature, and thus, it is necessary to identify the noise distribution characteristic in the national park and preserve and restore the soundscape. However, most national parks in Korea are exposed to noise, leading to negative perceptions of the national park's soundscape and affecting the ecosystem. Many national parks in other countries have investigated the ecosystem impacts caused by noise and have performed various management to reduce the noise. However, in Korea, there is still a lack of awareness of the effect on the ecosystem, overlooking the need for soundscape management. Therefore, in this study, we developed a noise map of Mudeungsan National Park to investigate the quantitative impact of noise on visitors and the ecosystem. Also, we measured the trail's soundscape to describe a sound grade classification, and the soundscape of main spots in the park was recorded for a year and then analyzed. Finally, the sound resource distribution map was described, which can be used as preliminary data to determine the national park's sound distribution characteristics and manage the soundscape.

• Journal of the Korea Society of Computer and Information
• /
• v.28 no.4
• /
• pp.133-142
• /
• 2023

National parks are one of the important types of protected area management systems established by IUCN and a management model for implementing effective conservation and sustainable use of natural and cultural heritage in countries around the world, and they assume important roles in conservation, scientific research, education, recreation and driving community development. In the context of big data, this study takes China's Liaohe National Park, a typical representative of global coastal wetlands, as a case study, and using Python technology to collect tourists' travelogues and reviews from major OTA websites in China as a source. The text spans from 2015 to 2022 and contains 2998 reviews with 166,588 words in total. The results show that wildlife resources, natural landscape, wetland ecology and the fishing and hunting culture of northern China are fully reflected in the perceptions of visitors to Liaohe National Park; visitors have strong positive feelings toward Liaohe National Park, but there is still much room for improvement in supporting services and facilities, public education and visitor experience and participation.

• Korean Journal of Heritage: History & Science
• /
• v.54 no.2
• /
• pp.56-77
• /
• 2021

Toponyms are located not only in the site between human cognition and the physical environment but also in the name of cultural heritage. Accordingly, certain identities and ideologies for which human groups and community have sought, their holistic way of life, and all cultural symbols and cosmos, such as sense of place and genius loci, are included in their toponymic heritage. Denoting, symbolizing, integrating and representing the culture and nature belong to the human community. Based on these perceptions of the toponymic heritage, the aims of this article are to examine the values of a toponym as an Intangible Cultural Heritage (ICH) and to suggest the application methods using the toponymic functions for governing of tangible cultural heritage. This article discusses the multivocality, diversity, and non-representational theory of landscape phenomenology intrinsic to the terms of culture and cultural landscape and then the domestic and international issues on the toponymic heritage in the first chapter on the values of toponym as a part of the ICH. In particular, it analyzes the preceding research in the field of toponymy, as well as the Resolutions of UNCSGN and UNGEGN on "Geographical names as culture, heritage and identity" including indigenous, minority and regional language names since 1992, which is related to the UNESCO's Convention for the Safeguarding of the Intangible Cultural Heritage in 2003. Based on this, I suggest that the traits of toponymic cultural heritage and its five standards of selection, i.e., cultural traits of toponyms, historical traits, spatial traits, socio-economic traits and linguistic traits with some examples. In the second chapter discussing on the methods using the toponymic denoting functions for creating and governing of the tangible cultural heritage, it is underlined to maintain the systematic and unified principle regarding the ways of naming in the official cultural heritage and its governing. Lastly, I introduce the possible ways of establishing a conservative area of the historical and cultural environment while using the toponymic scale and multi-toponymic territory. Considering both the spatial and participatory turns in the field of heritage studies in addition to the multiple viewpoints and sense of cultural heritage, I suggest that the conservative area for the cultural heritage and the historical and cultural environment should be set up through choosing the certain toponymic scale and multi-toponymic territory.

• Trans-
• /
• v.7
• /
• pp.19-48
• /
• 2019

This study was described to examine the meaning of the media exhibition work <70mK>, which aims to capture the topography of the collective consciousness of the Korean people through large-scale interviews. <70mK> edits and organizes interview images of individual beings in mosaic-like layouts and forms, creating video exhibitions and holding exhibitions. The objects in the split frame show the continuity of differences that reveal their own thoughts and personalities. This is a synchronic and conscious collective typology in which the intrinsic nature of the individuals is embodied in a simultaneous and holistic image. Interview images reveal their own form as a actual being and convey the intrinsic nature of one's own as oral information. <70mK> constructs a new individualization by aesthetically structuring the forms and information of life individuals in the extension of a specific group. The beings in the frame are not communicating with each other and are looking straight ahead. it conveys to visitors their relationship and personality as the preindividual reality. It is the repetitive arrangement and composition of heterogeneity and difference that each individual shows, and is a chain operation that includes collective identity behind it. <70mK> constructs the direct images and sounds of individual interviewee, creating a new form of information transfer called Video Art Exhibition. This makes metaphors and perceptions of the meaning and process of transindividual relationships and the meaning of psychic individuation and collective individuation. This is an appropriate case to explain with modern technology and individualization of Gilbert Simondon thought together with the meaning of becoming and relation of individualization. The exhibition space constructed by <70mK> is an aesthetic methodology of the psychic and collective meaning and its relationship to a particular group of individuals through which they are connected. Simondon studied the meaning of the process of individualization and the meaning of becoming, and is a philosopher who positively considered the potential of modern technology. <70mK> is a new individual as structured and generated ethical reality mediated by modern technology mechanisms and network behaviors. It is an case of an aesthetic and practical methodology of how interviews function as 'transduction' in the process of individualization in which technology is cooperated. The direct images and sounds of <70mK> are systems in which the information of life individuals is carried, amplified, accumulated and transmitted. It is also a new individual as a psychic and collective landscape. It is a newly became exhibition art work through the multiple individualization, and is a representation of transindividual meanings and process. The media exhibition art of individualized metastable states leads to new relationships in which viewers perceive the same preindividual reality and feel affectivity. The exhibition space of <70mK> becomes a stage for preparing the actual possibility of the transindividual group beyond the representation of the semantic function.

• Land and Housing Review
• /
• v.14 no.4
• /
• pp.77-93
• /
• 2023

The COVID-19 pandemic has brought about significant social changes through government prevention and control measures, changes in people's risk perceptions, and lifestyle changes. In response, urban inhabitants changed their behaviors significantly, including their preferences for transportation modes and urban spaces in response to government quarantine policies and concerns over the potential risk of infection in urban spaces. These changes may have long-lasting effects on urban spaces beyond the COVID-19 pandemic or they may evolve and develop new forms. Therefore, this study aims to explore the potential for urban spaces to adapt to the present and future pandemics by examining changes in urban residents' preferences in travel modes and urban space use due to the COVID-19 pandemic. This study found that overall preferences for travel modes and urban spaces significantly differ between the pre-pandemic, pandemic, and post-pandemic periods. During the pandemic, preferences for travel modes and urban spaces has decreased, except for privately owned vehicles and green spaces, which are perceived to be safe from transmission, show more favorable than others. Post-pandemic preferences for travel modes and urban spaces are less favorable than pre-pandemic with urban spaces being five times less favorable than transportation. Although green spaces and medical facilities that were positively perceived during the pandemic are expected to return to the pre-pandemic preference level, other factors of urban spaces are facing a new-normal. The findings suggest that the COVID-19 pandemic has had a significant impact on urban residents' preferences for travel modes and urban space use. Understanding these changes is crucial for developing strategies to adapt to present and future pandemics and improve urban resilience.

• MISULJARYO - National Museum of Korea Art Journal
• /
• v.96
• /
• pp.89-122
• /
• 2019

In this paper, I argue that the Handscroll of a Sightseeing Trip to the Hangang and Imjingang Rivers by Jeong Su-yeong (1743~1831, pseudonym: Jiwujae) is a record of his private journeys to several places on the outskirts of Hanyang (present-day Seoul) and that it successfully embodies the painter's subjective perspective while boating on these rivers and going on outings to nearby mountains. Around 1796, Jeong Su-yeong traveled to different places and documented his travels in this 16-meter-long handscroll. Several leaves of paper, each of which depicts a separate landscape, are pieced together to create this long handscroll. This indicates that the Handscroll of a Sightseeing Trip to the Hangang and Imjingang Rivers reflected the painter's personal subjective experiences as he went along his journey rather than simply depicts travel destinations. The Handscroll of a Sightseeing Trip to the Hangang and Imjingang Rivers features two types of travel: boating and mountain outings on foot. Traveling by boat takes up a large portion of the handscroll, which illustrates the channels of the Hangang and Imjingang Rivers. Mountain outings correspond to the sections describing the regions around Bukhansan, Gwanaksan, and Dobongsan Mountains. Jeong Su-yeong traveled to this wide span of places not just once, but several times. The fact that the Hangang River system are not presented in accordance with their actual locations shows that they were illustrated at different points. After visiting the riversides of the Hangang and Namhangang Rivers twice, Jeong Su-yeong delineated them in fourteen scenes. Among them, the first eight illustrate Jeong's initial trip by boat, while the other six scenes are vistas from his second trip. These fourteen scenes occupy half of this handscroll, indicating that the regions near the Hangang River are painted most frequently. The scenes of Jeong Su-yeong's first boating trip to the system of the Hangang River portray the landscapes that he personally witnessed rather than famous scenes. Some of the eight scenic views of Yeoju, including Yongmunsan Mountain, Cheongsimru Pavilion, and Silleuksa Temple, are included in this handscroll. However, Jeong noted spots that were not often painted and depicted them using an eye-level perspective uncommon for illustrating famous scenic locations. The scenes of Jeong's second boating trip include his friend's villa and a meeting with companions. Moreover, Cheongsimru Pavilion and Silleuksa Temple, which are depicted in the first boating trip, are illustrated again from different perspectives and in unique compositions. Jeong Su-yeong examined the same locations several times from different angles. A sense of realism is demonstrated in the scenes of Jeong's first and second boating trips to the channels of the Hangang River, which depict actual roads. Furthermore, viewers can easily follow the level gaze of Jeong from the boat. The scenes depicting the Imjingang River begin from spots near the Yeongpyeongcheon and Hantangang Rivers and end with places along the waterways of the Imjingang River. Here, diverse perspectives were applied, which is characteristic of Imjingang River scenes. Jeong Su-yeong employed a bird's-eye perspective to illustrate the flow of a waterway starting from the Yeongpyeongcheon River. He also used an eye-level perspective to highlight the rocks of Baegundam Pool. Thus, depending on what he wished to emphasize, Jeong applied different perspectives. Hwajeogyeon Pond located by the Hantangang River is illustrated from a bird's-eye perspective to present a panoramic view of the surroundings and rocks. Similarly, the scenery around Uhwajeong Pavilion by the Imjingang River are depicted from the same perspective. A worm's-eye view was selected for Samseongdae Cliff in Tosangun in the upper regions of the Imjingang River and for Nakhwaam Rock. The scenes of Jeong Su-yeong's mountain outings include pavilions and small temple mainly. In the case of Jaeganjeong Pavilion on Bukhansan Mountain, its actual location remains unidentified since the pavilion did not lead to the route of the boating trip to the system of the Hangang River and was separately depicted from other trips to the mountains. I speculate that Jaeganjeong Pavilion refers to a pavilion either in one of the nine valleys in Wooyi-dong at the foot of Bukhansan Mountain or in Songajang Villa. Since these two pavilions are situated in the valleys of Bukhansan Mountain, their descriptions in written texts are similar. As for Gwanaksan Mountain, Chwihyangjeong and Ilganjeong Pavilions as well as Geomjisan Mountain in the Bukhansan Mountain range are depicted. Ilganjeong Pavilion was a well-known site on Gwanaksan that belonged to Shin Wi. In this handscroll, however, Jeong Su-yeong recorded objective geographic information on the pavilion rather than relating it to Shin Wi. "Chwihyangjeong Pavilion" is presented within the walls, while "Geomjisan Mountain" is illustrated outside the walls. Handscroll of a Sightseeing Trip to the Hangang and Imjingang Rivers also includes two small temples, Mangwolam and Okcheonam, on Dobongsan Mountain. The actual locations of these are unknown today. Nevertheless, Gungojip (Anthology of Gungo) by Yim Cheonsang relates that they were sited on Dobongsan Mountain. Compared to other painters who stressed Dobong Seowon (a private Confucian academy) and Manjangbong Peak when depicting Dobongsan Mountain, Jeong Su-yeong highlighted these two small temples. Jeong placed Yeongsanjeon Hall and Cheonbong Stele in "Mangwolam small temple" and Daeungjeon Hall in front of "Okcheonam small temple." In addition to the buildings of the small temple, Jeong drew the peaks of Dobongsan Mountain without inscribing their names, which indicates that he intended the Dobongsan peaks as a background for the scenery. The Handscroll of a Sightseeing Trip to the Hangang and Imjingang Rivers is of great significance in that it embodies Jeong Su-yeong's personal perceptions of scenic spots on the outskirts of Hanyang and records his trips to these places.