• Proceedings of the Korea Society of Design Studies Conference
• /
• 2001.10a
• /
• pp.50.1-50
• /
• 2001

• Journal of architectural history
• /
• v.27 no.5
• /
• pp.7-16
• /
• 2018

This study investigated the dimensional plan of Kor Sork temple in Preah Pithu complex, Angkor by civil surveying, 3D scan, measured integer ratio and regularity. According to epitaph and preceding researches, Khmer temples were built based on structural planing with the constant ratio and regularity by using special construct measure scales "Hasta" and "Byama". The study assumed the same unit method was applied in Kor Sork temple and identified the regularity of actual measurement value about the temple. The assumed construct measure scale (Hasta) used for the design of this temple is 413mm. The overall apart arrangement of the temple is different in the East-West direction and the North-South direction. In the East-West direction, the whole scale is 180 hasta, and it is divided into 20 hastas. On the other hands, it was confirmed that the North-South direction is 96 hasta and it was divided four quadrants in 24 hastas. Regarding the detailed design, the regularity according to the constant ratio was confirmed. 7 hasta was used as the basic unit on the first floor and 6 hasta were used as the basic unit on the second floor of the terrace. the basement and the central sanctuary is of 6 hasta and 8 hasta were used as the basic standard.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.34 no.4 s.117
• /
• pp.61-68
• /
• 2006

A park will soon be developed in an area of Gwangjang-dong, Gwangjin-gu. The place has been a patch of green space for years, isolated by driveways and apartment complexes and abandoned. This article describes plans to infuse the abandoned green space with history, ecology, culture, and sports. The facilities that are to be constructed in and around the green space are positioned to take into account the path of the sun and the location of the curvilinear green space axis. The cultural space is planned as a centerpiece of the park, linked with the sports facilities. The overall framework is arranged in harmony with nearby elementary schools, parks, public facilities, athletic facilities, parking lots, and apartment complexes. The themed circulation route was constructed according to the environmental conditions and the spatial plan. In addition, the historical space is planned to work in close conjunction with the cultural space, and the streets and pedestrian pathways have characters of their own. The established contour lines will be carefully preserved, and an ecological pond will. The facilities, such as the outdoor performance stage, the outdoor art gallery, the Monument of Wind represented by a sail, and the pedestrian bridge in memory of Acha-sansung, are positioned for spatial balance and to provide a nexus. The bamboo forest, designed to foster the experience of sound effects, the architectural thematic plants, and the ecological pond are positioned to connect to each other around the greenspace axis. The main facilities are the outdoor theater, the bamboo forest, the Acha-sansung bridge, the Monument of Wind, the ecological pond, the four-season flower garden, parking lots, playgrounds, circulatory athletic pathways, and the tennis court.

• Korean Institute of Interior Design Journal
• /
• v.13 no.5
• /
• pp.66-73
• /
• 2004

If we consider the origins of new architectural language in Russian, as opposed to its social dimensions, then we are looking at quite another area of pre-Revolutionary activity: art. It was Tatlin's early ‘counter-reliefs’ which first explored the way new materials might generate new artistic form. The Basis of his art is collage and the reality of materials. In 1915, he exhibited the first of his ‘counter-reliefs’, casual montages of pieces of metal that invade the space around them, making the decomposition of the forms three-dimensional. What is not in doubt is the primacy of materials in Tatlin's art. He was a key figure in the transition from art towards design and ‘construction’, the last was accomplished with ‘real materials in real space.’After the October Revolution, one of the central myths of avant-garde was the realization of a total work of art. The progress has developed in the directions to an unprecedented creative realm, situated somewhere between painting and architecture in the post-revolutionary period. Paramount among such pioneer works was Tatlin's design for a monument to the Third International in 1919. Here In an artistic form, his investigation of ‘material, volume and construction’ was clearly embodied. In the comtemporary architecture, Tatlin's concept has been a great influence on the various tendencies of spatial expressions. For example, the architecture with concept of ex-formality has many varied aspects of space composition - dynamic forms with plasticity of concrete, ex-cubic composition with free walls, disposal composition by geometric collision and superimposition, and etc.

• Korean Institute of Interior Design Journal
• /
• v.17 no.4
• /
• pp.11-22
• /
• 2008

This study aims at clarifying the circumstances under which the Korean Pavilion was constructed at the 1900 Paris Universal Exposition, and major architectural features of the pavilion building, In particular, this thesis studies the construction history of the Korean Pavilion newly developed by Comte de Mimerel on the part of France following the sudden death of Baron Delort de Gleon during the construction of the Korean Pavilion, as well as architectural features of the draft design. The Korean Pavilion designed by Comte de Mimerel completely reproduces Keunjeongjeon of Gyeongbok Palace, faithfully complying with the then design tendency of the exposition. Mr. Young Chan Min, the Vice Chairman of the Seoul Organization Committee, positively participated in the construction process, and traditional carpenters in Chosun, together with Mr. Young Chan Min, were dispatched to Paris to engage in the construction of the pavilion building. This is substantially in contrast to the earlier design. According to the analysis in this study, although the Korean Pavilion designed by Comte de Mimerel was primarily built with the fund of the French Government and under the French architectural system, as a result of the Korean Government's positive participation in the construction process, it was decided to use Geunjeongjeon, the symbol of Chosun, as a model of the pavilion, and therefore, the Korean Pavilion was recognized by the Europeans as a monument of complex and sophisticated civilization. Furthermore, commercial and colonialistic expressions, which were found in the earlier plan, are rarely found in the Korean Pavilion designed by Comte de Mimerel, and we can see that this is the result of the attempt to fully reproduce Geunjeongjeon, the major building of the Chosun royal court, in building the Korean Pavilion.

• Journal of the Architectural Institute of Korea Planning & Design
• /
• v.34 no.1
• /
• pp.41-52
• /
• 2018

The purpose of this study is to examine the circumstances of repair works after enacting "Low for Conservation of Joseon Treasure, Historic Site, Scenic Beauty & Natural Monument (朝鮮寶物古跡名勝天然記念物保存令)". For this purpose, the official documents produced by the Government-general Museum of Joseon were analyzed. They included the contents of repair works of Hwaumsa Kakhwangjeon(華嚴寺 覺皇 殿). As a result, this study reveals that the repair work of Hwaumsa Kakhwangjeon had become a momentum of introducing specific guidelines such as "Guidelines for Architectural Treasure's Repair 寶物建造物修理施行準則", "Regulations for administration of Hwaumsa Kakhwangjeon's repair work 華嚴寺覺皇殿修理工事取扱手續)". The guidelines and regulations systematized the planning phase of the repair works and provided to organize the field office formed by experts. In spite of these positive changes, the repair works were controlled by the central government to the certain extent, and the Japanese repair techniques were mingled with traditional techniques recklessly.

• Journal of the Architectural Institute of Korea Planning & Design
• /
• v.35 no.4
• /
• pp.115-126
• /
• 2019

Construction of the Pyongyang Railroad Station began in 1907 as an important foothold for the Japanese colonization of the Korean Peninsula and the further invasion of Manchuria. As Pyongyang gradually grew in size and political significance, the Pyongyang Station came to have two responsibilities: Fulfill its functional role and serve as a monument to the growing dignity of the city. This study argues that the Pyongyang Station, newly rebuilt in 1958, was the first building to solve the demands for both functional expansion and the pursuit of monumentality. Stylistically, the original single-story wooden building became a three-story classical masonry building. The stylistic change symbolizes the political shift by which the building was reconstructed. The simple wooden building built by the Japanese, representing Pyongyang's status as a colonial provincial town, was transformed into an imposing gateway for the capital city of a newly born socialist state. Socialist Realism, correctly described by its slogan "socialist in content and national in form," harmoniously blended classical architecture, socialist symbols, and Korean local motifs. This study is significant in that it illustrates the historical changes and continuity of the Pyongyang Station from 1907, when it was first built, through the "liberated space" to the postwar reconstruction period of the 1950s.

• Journal of the Architectural Institute of Korea Planning & Design
• /
• v.35 no.12
• /
• pp.83-92
• /
• 2019

The purpose of this study is to analyze the continuous forms of time and space that work as architectural design principles of the Memorial to the Murdered Jews of Europe (Jewish Memorial). Continuity is divided into two, physical and non-physical attributes. The former extends from small installations to furnitures, finishes, spatial composition, and even spatial networks that complete architecture, and the latter is tied to time, from traditional to historical, developmental, commemorative or memorial elements. They are inherent in architecture as continuous forms. The Jewish Memorial is analyzed by the analysing framework of these two items. The analysis of the two layers can be summarized as follows; physical continuity is found in the space networks of the Memorial's inside and outside, the undulating spaces, the finishes, the small furnitures and installations, the entrances of staircases, the expanded underground of the ground order, and non-physical continuity manifests in the topological variation of spatiality, the morphological development of memorial architecture, the connection of semantic sense of space, and the superposition of historicity and modernity. These forms of continuity do not aestheticize the German enormity history, but make the meaning of the Memorial into non-superficial, in-depth architecture as a monument. Thus, the results of this study show that physical and non-physical continuity should be considered as the important design principles of architecture that makes the Memorial architecture possible.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.31 no.3
• /
• pp.25-37
• /
• 2013

The purpose of this study is to draw reasonable management plans to reinforce essence of Ohyundan(五賢壇: Five sprit tablets), a sacred site and monument of Jeju, by investigating and analyzing current status and problems of cultural landscape elements(e.g. architectural structures, installation, letters carved on the rocks, actual vegetation, etc.) while grasping placeness contained in Ohyundan through consideration of its history and transition process of Ohyundan a future being and shrine of Gyulrim Seowon(橘林書院) in Jeju. Results derived from research are summarized as follows. Ohyundan is noted due to its placeness in that it was a place for Gyulrim Seowon, Jeju's one and only Saaek Seowon(賜額書 院) and it was a symbolic space of exile culture in Jeju. As it is inferred from Gyulrim Seowon, which is dangho(堂號: clan name) of Seowon, orchards surrounding all over places are a signature landscape element that shows placeness of the past Ohyundan. Joduseok(俎豆石: altar stone), representing a core installation of Ohyundan and ancestral tablet of five spirits, created a refined place by putting up common stones around altar and founding blocked stones to wall. This refinement and thrift served basic mind of Neo-Confucianism, and led to of Jeju's Jonyang mind(spend-thrift mind). In conclusion, a practice plan is a prerequisite to restore essence of Ohyundan by actively excluding installations not suitable for placeness or overly designed such as Jeju Hyangrodang(a center for the elderly) and numerous monument houses. On the other hand, together with Joduseok, as letters carved on the rocks such as 'Jeungjoo Byukrip(曾朱壁立)' and 'Gwangpoongdae(光風臺)' and Yoocheonseok serve as a signature landscape that well shows mind of five spirits and teaching of Neo-Confucianism, and also a trace from a confucian viewpoint deeply rooted in Jeju, they are judged as a cultural landscape corresponding to the essence of place in Ohyundan which requires proactive preservation and plans for public relations. Together with this, although many different old big trees such as Pinus densiflora , Pinus thunbergii, Quercus variabilis, Celtis sinenis, Zelkova serrata and Rhus succedanea are a landscape element that increases sacred Ohyundan and commemorative value, now required is thorough entity tree management by assigning serial number on them as many of them were dead or removed resulting from transition process of land use. Further, to reinforce quality of site location belonging to Gyulrim Seowon, a prerequsite is to review plans that create Gyulrim at reinstalled site of building and raw land.

• Journal of the Korean Society of Environmental Restoration Technology
• /
• v.22 no.1
• /
• pp.73-84
• /
• 2019

In this research, it is a basic study to investigate the population of birds using UAVs. The research area is Ardeidae species(ASP) habitat and has long-term monitoring. The purpose of the study is to compare the ASP populations which analyzed ground observational survey and UAVs imagery. We used DJI's Mavic pro and Phantom4 for this research. Before investigating the population of ASP, we measured the escape distance by the UAVs, and the escape distances of the two UAVs models were statistically significant. Such a result would be different in UAV size and rotor(rotary wing) noise. The population of ASP who analyzed the ground observation and UAVs imagery count differed greatly. In detail, the population(mean) on the ground observation was 174.9, and the UAVs was 247.1 ~ 249.9. As a result of analyzing the UAVs imagery, These results indicate that the lower the UAVs camera altitude, the higher the ASP population, and the lower the UAVs camera altitude, the higher the resolution of the images and the better the reading of the individual of ASP. And we confirmed analyzed images taken at various altitudes, the individuals of ASP was not statistically significant. This is because the resolution of the phantom was superior to that of mavic pro. Our research is fundamental compared to similar studies. However, long-term monitoring for ASP of South Korea's by ground observation is a barrier of the reliability of the monitoring result. We suggested how to use UAVs which can improve long-term monitoring for ASP habitat.