• Journal of architectural history
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• v.3 no.1
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• pp.83-99
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• 1994

Ch'ang-Ts'al-Ts'un is a rural Village near Lung-jing City in Yen-pien Korean Autonomous Province of China. It was formed about 100 years ago by Korean Immigrants and has been developed maintaing the characteristics of traditional Korean architecture. Therefore investigating the spatial structure of this village is a meanigful work to confirm and explore one branch of Korean architecture. This study aims at analyzing the spatial structure of the village using direct data collected from the field work and indirect data from books and maps. The field work consists of on-the-site survey of the village layout, interviews of residents, observation notes and photography. Ch'ang-Ts'ai-Ts'un is located 360-370 m high above the sea level and at the side of a long valley. A river flows in the middle of the valley and relatively flat arable land exists at the both sides of the river. The location of the village related to the surrounding river and mountains suggests that the site of the village was chosen according to Feng-Shui, Chinese and Korean traditional architectural theory. The main direction of the house layouts is South-western. The village has been growing gradually until today. Therefore it is meaningful to make the village layout before Liberation(1946 A.D.) because the characteristics of Korean architecture prevailed more in that period. The area of the previous village is limited to the west side of the creek. New houses were later added to the east of the creek, forming a 'New Village'. Previously the village was composed of 3 small villages: Up, Middle and Down. Also the main access roads connecting the village with the neighboring villages were penetrating the village transversely. Presently the main access road comes to the village longitudinally from the main highway located in front of the village. The retrospective layout shows the existence of well-formed Territory, Places and Axes, thus suggesting a coherent Micro-cosmos. The boundary of imaginery territory perceived by present residents could be defined by linking conspicous outside places sorrounding the village such as Five-mountains, Front-mountain, Shin-dong village, Standing-rock, Rear-mountain and Myong-dong village. Inside the territory there are also the important places such as Bus-stop, Memorial tower of patriots, Road-maitenance building and the village itself. And inside it 5 transverse and 1 longitudinal axes exist in the form of river, roads and mountains. The perceived spatial structure of the village formed by Places, Axes and Territory is geometrical and well-balanced and suggests this village is fit for human settlement. The administrative area of the village is about 738 ha, 27 % of which is cultivated land and the rest is mountain area. Initially the village and surrounndings were covered with natural forest But the trees have been gradually cut down for building and warning houses, resulting in the present barren and artificial landscape with bare mountains and cultivated land. At present the area of the village occupied by houses is wedge-shaped, 600 m wide and 220 m deep in its maximum. The total area of the village is $122,175m^{2}$. The area and the rate of each sub-division arc as follow. 116 house-lots $91,465m^{2}$ (74.9 %) Land for public buildings and shops $2,980m^{2}$ (2.4 %) Roads $17,106m^{2}$ (14.0 %) Creek $1,356m^{2}$ (1.1 %) Vacant spaces and others $9,268m^{2}$ (7.6 %) TOTAL $122,175m^{2}$ (100.0 %) Each lot is fenced around with vertical wooden pannels 1.5-1.8 m high and each house is located to the backside of the lot. The open space of a lot is sub-divided into three areas using the same wooden fence: Front yard, Back yard and Access area. Front and back yards are generally used for crop-cultivation, the custom of which is rare in Korea. The number of lots is 116 and the average size of area is $694.7m^{2}$. Outdoor spaces in the village such as roads, vacant spaces, front yard of the cultural hall, front yard of shops and spacse around the creek are good 'behavioral settings' frequently used by residents for play, chatting, drinking and movie-watching. The road system of the village is net-shaped, having T-junctions in intersections. The road could be graded to 4 categories according to their functions: Access roads, Inner trunk roads, Connecting roads and Culs-de-sac. The total length of the road inside the village is 3,709 m and the average width is 4.6 m. The main direction of the road in the village is NNE-SSE and ESE-WNW, crossing with right angles. Conclusively, the spatial structure of Ch'ang-Ts'ai-Ts'un village consists of various components in different dimensions and these components form a coherent structure in each dimension. Therefore the village has a proper spatial structure meaningful and appropriate for human living.

• Journal of the Korean Institute of Landscape Architecture
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• v.37 no.4
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• pp.72-85
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• 2009

This study attempts to examine the principles of landscape composition for a 'Suhwon(書院)' and the meaning and value of its traditional landscape architecture, in order to apply the results to the design of modern landscape architecture. A 'Suhwon' is a vital space containing the form and meaning of human activity. This study analyzes the characteristics of landscape composition in the construction of the Namgea Suhwon, located in Hamyang, by examining the form and meaning of its area and composition. The Namgea Suhwon was constructed with a suitable configuration and harmony in a good location, neither field nor mountain, and which encompasses transcendence and a return after passage through a period of birth and abundance. Its appearance means 'life existence and hidden death(生居死幽)'. Its spatial system is a reflection of the idea of Samshinoje(三神五帝: The three abilities of Providence and its five subjects) connected with Ilsangje -Samshin -Ohje. It was built based on the idea of Biryebudong(非禮不動) meaning that one should follow only good decorum and avoid discourtesy, complying with "the frame of decorum" developed by the family rites of Chu Hsi. The environmental design of the Namgea Suhwon was interrupted by the material confrontation between mountains and water and a binary code system, such as front to rear, length to breadth, and movement to stillness. The design did not adhere to stiff axes, but pursued the harmonic principles of asymmetric balance in the building and the yard, which are very naturalistic. The name 'Namgea Suhwon' is closely related with the view of placement(置) and harmony(和), which are unified with the function and meaning formed by connecting Sung Confucianism with the Pungsu-Sasinsa structure in the layout of the grounds. When examining the D/H ratio of the building and yard, it can be seen that the spaces of Ganghak, Yusang and Jehyang were built appropriately, according to the natural characteristics of each space, such as a sense of openness, enclosure, tension, relief, enhancement, and hierarchical order. The spaces also reflect human scale concepts that take advantage of auditory features. The transition process after the construction of 'Namgea Suhwon' reveals the intentions of the builder to create an ecological landscape composition based on Placement and Harmony. Placement embodies' a purposeful space in which nature and the building are connected naturally, 'incomplete open space pursuing completion', and 'potential beauty in which tension and relaxation are repeated'. Harmony embodies 'order and continuity having a sense of unity with the natural environment' and the 'sharing of daily life and memory'. 'Namgea Suhwon' contains many ideas for landscape planning, land use and the design of a campus environment.

• Journal of the Computational Structural Engineering Institute of Korea
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• v.30 no.5
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• pp.453-460
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• 2017

In the offshore industry, helicopters are mainly used for transportation of goods or operating personnel between offshore sites and onshore facilities. A helideck is a structure that is required for landing and take-off of helicopters on the offshore structure. There are several shapes of helidecks depending on the type of offshore structures or installation location. Among them, cantilever-type helidecks usually provide more space on the topside of offshore structures and it is safer against potential accidents like fire or explosion. In this paper, the cantilever-type helideck is selected for the research object and topology design optimization is applied for lightweight design of the helideck. A finite element model is then created from the optimal layout of truss structures of the helideck, and structural analysis is performed under various landing conditions and wind loads. Based on the analysis results, the detailed section dimensions of structural members are determined so that the maximum stress at each structure member does not exceed the allowable stress of the structural material. Also, the final optimal design shows significant decrease in the total weight of the helideck.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.41 no.4
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• pp.21-29
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• 2023

The Northern Song Dynasty, the heyday of cultural and artistic achievements, brought significant changes to the history of gardens in China. The developments and contemplations that had evolved during the previous Tang Dynasty became intertwined with literature, painting, and art, leading to garden being perceived as works of art. In particular, the emergence of Su Shi(蘇軾) that permeated literature and art during the Northern Song Dynasty, had an impact beyond individual garden creation, influencing the development of public gardens and the diversification of garden. His long exile periods served as an opportunity to understand and reflect the local culture and characteristics, influencing the development of the garden. This study focuses on the ideology of Su Shi(蘇軾) that managed various gardens, examining the relationship between his exlie life and ideology. To do so, the study examines the form of the literati's gardens managed by Su Shi(蘇軾), with a particular emphasis on the Baiheju(白鶴居) garden in Huizhou, revealing the following characteristics and values. First, Su Shi(蘇軾), who was proficient in the Three Houses: Confucianism, Buddhism, and Taoism, combined his philosophy and unique perspective techniques with the location and composition elements of Baiheju(白鶴居) to enjoy the landscape. Although the ancient residence has a simple form, it possesses expansiveness through the combination of internal and external views. The interior is designed to be perceived as a single space, but it allows overlapping experiences of space and simultaneous appreciation of different sceneries. On the other hand, the spatial layout incorporates a hierarchical order to establish a sense of order. Second, the garden reflects the local characteristics, featuring numerous tropical plants and presenting vibrant and contrasting colors with structures. The planting forms embrace the concept of "huosei seikou" (活色生香) to enhance the color harmoniously. Additionally, the garden incorporates the poet's spiritual world, projecting it onto the garden as a contemplative place for spiritual nourishment and exploration of the ideal realm. For the pursuit of serenity and profound contemplation, the selected plantings are simple yet distinctive, providing rhythm and depth to the garden space. Third, Baiheju(白鶴居) has undergone changes over the years, but fundamentally, the form and elements of the garden shaped by Su Shi(蘇軾)'s descendants persist, confirming its heritage value.