• Journal of architectural history
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• v.9 no.3 s.24
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• pp.37-49
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• 2000

Jeong-Gak is one of the Confucian architecture in Cho-Sun Dynasty. This study is founded on the architectural characteristics and the Confucian order of Jeong-Gak. The Cho-Sun Dynasty had put in operation positive Jeong-Pyo Policy for diffusion Confusion ethics and educate the people. Prize methods of Jeong-Pyo Policy are Jeong-Ryeo, Jeong-moon, remit corvee, present a post and present goods. Jeong-Moon and Jeong-Ryeo is red gate. Vocabularies of Jeong-Moon and Jeong-Ryeo have used mixing but I think that both meaning is different essentially each other. The red gate that elected in front of gate or gateway is Jeong-Moon and another red gate that elected an entrance a village is Jeong-Ryeo. Jeong-Moon and Jeong-Ryeo have no roof, so they are many problem for maintenance and management. Accordingly Jeong-Gak come out from the reign of King Jung-Jong because shelter of Jeong-Moon and Jeong-Ryeo. The function of the Jeong-Gak is shelter of the Jeong-Moon and Jeong-Ryeo, encouragement of Sam-Gang(三綱) ethics, and ostentation of a family. Besides it has a monumental characteristic. It has been distributed the whole country land that Jeong-Gak is closely related with the community of same family (rural community) the latter period of the Cho-Sun Dynasty. The architectural particularity of the Jeong-Gak is brilliance of building materials as compared with different Confucian architecture and appearance of various architectural type. It is that a type of Jeong-Gak appeared Jeong-Ryeo-Gak type, a lofty gate type, and Stone Jeong-Ryeo type. And there are keeping a rule that is to say Confucian order clearly.

• The Journal of the Convergence on Culture Technology
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• v.6 no.2
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• pp.473-479
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• 2020

Since the 21st century a free-form building has been noticeably constructed. Now the definition "the monumental architecture is a free-form one." has come to be established. As a free-form building became a landmark of the city and a factor rising a value of the building all around the world, it is currently required to consider a more efficient design process. Therefore this research aims to learn approaches of the lasting free-form design process by considering the design process of Dongdaemun Design Plaza(DDP) designed by 'Zaha Hadid' that is a typical free-form building of Korea and the correlation between the design in the conceptual stage and the BIM(Building Information Modeling) design in practical stage.

• Journal of the Korean Institute of Landscape Architecture
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• v.48 no.1
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• pp.46-56
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• 2020

The 88 Olympic Park is a monumental urban park in Seoul, developed to commemorate South Korea's hosting of the 1988 Seoul Olympic Games. Initially conceived to emphasize the event slogan, 'Cultural Olympics,' which was driven by the Korean government, the park, already designed and constructed by 1986, was reconfigured into a sculpture park following two international outdoor sculpture Olympiads and an invitational sculpture exhibition. This study takes a look at the process of redesigning the park into sculpture park and the socio-political discussions surrounding such a process, in order to reconsider the significance of the 88 Seoul Olympic Park with regards to Korean landscape architectural history. Several discussions within Korean society arose during the redesign process. First, there were critiques on the artwork selection during the early phase of the project. Second, issues regarding the conservation of the national heritage site, Mongchon-tosung, located within the park, gave rise to a larger discourse on heritage preservation in Seoul. Third, discussions regarding the formation of the park identity, or lack thereof, prevalent. Through this study, the 88 Seoul Olympic Park presents itself as an example where large park construction in Seoul caused discussions regarding globalization, nationalism, publicness and art to be brought forth. This paper concludes that the 88 Seoul Olympic Park is a cultural landscape that requires further examination and exploration as it provides rich historical context for understanding the history of cultural and artistic practices in Korean urban landscapes.

• Journal of the Korean Institute of Landscape Architecture
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• v.40 no.4
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• pp.51-61
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• 2012

Kyong-Eui Railway used to be one of the major cross-country railways connecting Busan and Shineuiju. Being the central axis of logistics and transportation in Korea, it also signifies a symbolic meaning of the people's desire for the unification of divided Korean peninsula. A steam locomotive that had stopped in Jangdan Station was bombed out during the Korean War. The locomotive has been neglected and covered with rust in DMZ over a half century, and now is becoming a historic reminder of divided Korea. The initial design approach was based on the three main perspectives of the relocation plan of the steam locomotive in Jangdan Station which is designated as the registered cultural asset no. 78: historical significance, role of a monumental space, and influence on and from the local culture and tourism. Three design subjects were especially highlighted which would represent the identity of the cultural asset, the stream locomotive. First, a vertical watching deck was installed to provide various view points toward the locomotive while ensuring the security of visitors as well as the cultural asset. Second, the Dokgae bride area has good design potentials being on the railway. However, the site is too narrow. Thus, a new ramp and a stairway were placed responding to the existing topography so that the pedestrian environment could be secured last, to respect the local context where the locomotive was originally located, mulberry trees in the locomotive were transplanted as well. Flowering plants were planted around the display area for better ventilation to minimize the negative impact on the locomotive.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.38 no.1
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• pp.36-44
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• 2020

This study analyzed the Planting Prototype of Haengdan(杏壇)is the One of the traditional planting techniques and the value of natural monument plant and derived the value of the ginkgo tree in Sejong-ri as a natural monument. The results are as follows; First, ginkgo trees have high environmental adaptability, practicality and visual value. There were also many ginkgo trees that were deeply related to Confucian and Buddhist ideas. Ginkgo trees accounted for the largest portion of the number of old tree designated as natural monuments in recognition of their value. Second, after analyzing the historical and cultural values of ginkgo trees, ginkgo trees became the place of gardens and buildings by symbolizing Confucius(孔子)' Confucian ideas. In Buddhism, it was related to the creation of temples or the achievements of ancient monks. The people had a symbol of the prosperity of their offspring and the succession of the family. Third, in 1024 gongdobo, the grandson of Confucius, rebuilt the shrine, installed the platform in the central position and planted ginkgo trees. It originated from what he called "the "haengdan(杏壇)." The tree was then recorded as "heungheang(紅杏)" which was written by Wang Jae-jin's poetry during the Ming Dynasty. Thus it was misused as apricot tree. The cause of this is due to the same kanji reading. or it can be seen as influence on the taoism. But Korea has been sticking to the use of the first ginkgo trees. Forth, biologically, the Sejong-ri ginkgo tree is characterized by the composition of a pair of male trees. The landscape is contrasted with the twisted male tree and vertical female trees. In addition, in terms of authenticity and integrity, the relationship between Admiral Im, Nan-Su(林蘭秀) of the Goryeo Dynasty and the ginkgo tree is found in various literature.

• Journal of the Korean Society of Costume
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• v.35
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• pp.17-44
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• 1997

Medieval European practical art and style of costume is studied through referring to the literatures. The type of clothing that was seen on tapestries arts and crafts paintings and wall paintings and appeared in the architecture such as church. There were symbolic aspects of color motifs at this period and some restraints for clothing according to the social class, It was a period that draped garments due to the War of Crusades is appeared. Be-cause the medieval taste and decorative character is not only 'formative art' but also the taste beyoud 'mode' and atomsphere of that times it could be seen the strong reflec-tion of customs in the clothing of that times which is shown in works of art. 1) The purpose of Christian art which was found in mosaics stained glasses wall pain-tings and statues of architecture was not just the revival of natural phenomena but visuali-zation of sacred and invisible things. It was valuable to understandin of the spiritual through the sense organ It was a monumental art that was combined with decorative func-tion and role of the Bible. It revealed what was about the religious spiritual miracle, 2) In the medieval European painting characteristic and beautiful creativity was the basis of an argument. Both "Worship of East-ern" that is painted ion a parchment and "Cor-onation of Charles VI" were described decor-ation motifs on the edge of buildings geo-metric patterns and others with outstanding skill. there were precise technologic skill of architect and glassmen and lots of patience of craftsmen. " The Labour of the Months" and the scene of"A Trial at the Court" is also de-scribed elaborately. 3) Tapestry was developed in France Ger-many Swiss at the 14th century. Religionary and historical themes unicorn lady bird flowering plants and others were major motifs. It was very important as decorative wall coverings and as practical door arch and bed hangings. It was made through patient hard work with simple technique and it was con-sidered as an art for practical use. Tapestry was what everyone wish to have. It is reckoned for the item of the best gift. The royalty and nobility ordered and used custom-made tapestries. Sometimes the subject of motifs consisted of series which were deeply related to living 4) Decorative arts and crafts was the art that used materials such as precious metals jewels and others and that accorded with the luxurious and gorgeous taste of the royalty and nobility. Christian considered splendid and beautiful color of light as a symbol of glory. They used also for church appliances, There were metal crafts wood crafts textile crafts and others, As was stated above the costume appeared on the arts and crafts for living revealed the process of changes saw how the politic econ-omic and social organizations were developed.and social organizations were developed.

• Journal of the Korean Institute of Landscape Architecture
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• v.49 no.5
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• pp.97-111
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• 2021

The purpose of this study was to analyze commemoration characteristics of the United States of America, the Commonwealth, and Germany through representative 14 military cemeteries of World war II in Western Europe. Based on the commemoration characteristics such as spacial characteristic, commemorative elements, and graves and headstone, the commemoration culture among U.S., the Commonwealth. and Germany were studied comparatively. The results are as follows. First, taking geometrical form with mainly square type, rarely circle and spiral patterned, most cemeteries were structured spatial central axis with symmetry, those cemeteries were styled neoclassical, but some of the U.S. cemeteries were modernistic, connecting spaces organically with curved line layout. Second, chapel, the wall of missing, the wall of battle map, and sculpture in the U.S military cemeteries, and 'the cross of sacrifice' and 'the stone of remembrance' as classical monument in the Commonwealth war cemeteries were commonly applied standardized commemorative elements, but commemorative monuments in German military cemeteries were restricted except monumental cross. Third, the symbolic cross of christianism was used all cemeteries to console and cherish the soul of soldiers, specially the Latin crosses in the U.S military cemeteries delivered political message as the american martyr for Western Europe and also the power of the U.S., but the cross in German and the Commonwealth war cemeteries were basically cherish and comfort individual spirit. Fourth, showing the power of victory with national patriotism, the U.S. strongly represented christianism and liberal democracy against communism, the Commonwealth showed imperialistic style, and German military cemeteries were quietly appeared as traditional style forwarding reconciliation and peace. This study suggest the war cemeteries have national identity with typical form and symbolic aesthetics. Further study will be required to materialize sublime commemoration in national cemeteries and to form advanced commemorative culture in Korea.

• 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.

• Korean Journal of Heritage: History & Science
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• v.47 no.1
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• pp.82-101
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• 2014

The purpose of this study was to survey and analyze the origin story and the legends associated with Yongyudam(龍遊潭, Dragon Creek), its scenic and spatial description in Climbing Writings(遊山記: Yusangi Notes), its geographical and geological features, its surrounding remains and letters chiseled on the rocks through the field study and the study on literatures associated with it so to identify its significance and value and then to ensure justification on preservation of Yongyudam scenic site. Conclusions of this study are as follow. As the traditional scenic place 'Geumdae-Jiri(金臺智異)' representing Hamyang-gun(咸陽郡) depicts Mount Cheonwangbong and 'Yongyudong Village(龍遊洞)', ancient maps and literatures have positioned Yongyudam as the center of Eomcheon-river Creek as well as the representing scenic site of Yongyudong Village. Core images in the spatial awareness of Yongyudam described in our ancestors' Climbing Writings Notes on Jirisan Mount are 'geographical and scenic peculiarity associated with swimming dragons', 'potholes in various shapes and sizes scattered on rocks', 'loud sound generated by swirling from shoals' and 'the scenic metaphor from the dragon legend', which have led scenic features of Yongyudam scenic site. In addition, significant scenic metaphors from legends such as 'Nine Dragons and Ascetic Majeog' and 'Kasaya Fish' as well as 'the Holy Place of Dragon God', the rain calling magic god have descended not only as the very nature of Yongyudam scenic site but also the catalyst deepening its mystic and place nature. On the other hand, Jangguso Place(杖?所, Place of Scholars) in the vicinity of Yongyudam was the place of resting and amusement for scholars from Yeongnam Province, to name a few, Kim Il-son, Cho Sik, Jung Yeo-chang and Kang Dae-su, where they experienced and recognized Jirisan Mount as the scenic living place. Letters Carved on the rocks at Jangguso Place are memorial tributes and monumental signs. Around Yongyudam, there are 3 stairs, letters chiseled on the rocks and the water rock artificially built to collect clean water, which are traditional scenic remains detectable of territoriality as the ritual place. In addition, The letters on the rock at Yongyudong-mun(龍遊洞門) discovered for the first time by this study are the sign promoting Yongyudam as the place of splendid landscape. The laconism, 'It is the Greatest Water in Jirisan Mount(方丈第一山水)' on a rock expresses the pride of Yongyudam as the representing scenic place of Mount Jirisan. Other than those, standing rocks such as Simjindae Rock, Yeong-gwidae Rock and Ganghwadae Rock show the sign that they are used as amusement and gathering places for ancestor scholars, which add significance to Yongyudam. By this study, it was possible to verify that Yongyudam in Mount Jirisan is not simply 'the scenic place in the tangible reality' but also has seamlessly inherited as the traditional scenic attraction spiritualized by overlapped historical and cultural values. Yongyudam, as the combined heritage by itself, shows that it is the product of the place nature as well as unique ensemble of cultural scenic attraction inherited through long history based on natural scenery. It is certain that not only the place value but also geographical, geological, historical and cultural values of Yongyudam are the essence of traditional scenic attraction, which should not be disparaged or damaged by whatever political or economic interests and logics.