• Journal of architectural history
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• v.12 no.4 s.36
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• pp.27-48
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• 2003

This paper aims to identify the meaning of architectural form of the East and the West. Ordinarily, we know the visual differences of architectural form between the two cultural families, and the technical reasons of such differences. However, the East and the West have their own views of architectural form that are derived from their own views of architecture, and again the views of architecture are rooted in their own views of the world. The paper maintains a comparative stance between the two cultures in analyzing the different concepts of architectural form, and employ the ideas of 'Form(形象)' and 'Energy-Form(氣形)' as a kind of representative concept of the two views of architectural form. It is discussed that the idea of Form pursued the realization of ultimate substance which is less materialistic but more ideal., while, the idea of Energy-Form pursued the realization of oneness and health through mutual interaction between man, architecture and nature. Architectural form in the West has been the purposeful expression of human ideal, while in the East, it was an expediential device for better energy condition. It seems important to understand such differences of the meaning of architectural form between the East and the West, since, in present time, we tend to think that the Western conception of architectural form is the only possible one. But it is not generally known that the Western conception of form has very particular background reason of its own which is unique to Western culture, and on the other hand, the nature of East Asian conception of architectural form is generally unknown.

• Journal of architectural history
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• v.14 no.4 s.44
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• pp.101-115
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• 2005

The main aim of this research is centered on the relation between nature and humans, and is to study the ecological characteristics appearing both in Landscape Architecture, one of the currents of ecological architecture as the architectural solution on the relation between humans and nature, and in our traditional architecture. Through this study, we were able to see that our traditional architecture was influenced by our ancestor's view of nature, and that the foremost feature of our ancestor's view of nature on our traditional architecture is not conflicting with nature, but, instead it is complying with it through seeking harmony with nature. Also we could see that our ancestor's view of nature is similar to Landscape Architecture having come to the fore toward the tendency of modern ecological paradigm in that it is the representation seeking the organic view of nature pursuing the oneness among artificial structure, humans, and nature. That is, we could figure out that various ecological features appearing in modem Landscape Architecture had been represented for a long long time, in a natural fashion, In the manner of space makeup in our traditional architecture. This is the characteristic of our ecological thinking system understanding nature and humans at the same context, and it has come down not only to our everyday living but to the manner of architectural solutions as well. Through this research, we could reconsider the modern value of ecological architecture inherent in our traditional architecture.

• Journal of the Korean Institute of Landscape Architecture
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• v.35 no.5
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• pp.92-99
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• 2007

Korea began preserving and managing natural monuments in 1933 under the Japanese Colonization, but South and North Korea had to establish natural monument management policies separately because of the division after the Korean Independence. The purpose of this study is to compare and analyze the natural monument designations of South and North Koreas between 1933 and 2005 to introduce advanced polices for Oneness-Korea. The following are the results: According to data of December 2005, South Korea has 358 and North Korea has 474 natural monuments. North Korea has 116 more natural monuments than South Korea. In addition, over half of South Korea's designations are plants, whereas North Korea's designations are relatively well-balanced. Both South and North Korea designate plants(mostly trees) that are old and large. However, South Korea emphasizes the historical value of village forests, contrary to economic value in North Korea. Also, North Korea preserves many traditional fruit trees which have not been well-preserved in South Korea. As for animals, South Korea designates migratory wild animals by type and not by region to protect them at a national level, whereas North Korea designates the specific habitats of each type of wild animal. In addition, North Korea protects each region's cattle and chickens to preserve native traits of domesticated animals. Geologically, North Korea preserves 18 hot springs and 11 springs, whereas South Korea has none. Geographically, North Korea preserves 81 waterfalls, lakes, etc. In the conclusion, advanced natural monument management of South and North Korea is necessary to achieve effective preservation of natural monuments.

• Membrane and Water Treatment
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• v.11 no.5
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• pp.323-331
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• 2020

With the increasing demand on reverse osmosis (RO) membranes for water purification worldwide, the number of disposed membrane elements is expected to increase accordingly. Thus, recycling and reuse of end-of-life RO membranes should be a global environmental action. In this work, we aim to reuse the spent RO membrane for nanofiltration (NF) and ultrafiltration (UF) process by subjecting the spent membrane to solvent and oxidizing solution treatment, respectively. Our results showed that solvent-treated RO membrane could perform as good as commercial NF membrane by achieving similar separation efficiencies, but with reduced water permeability due to membrane surface fouling. By degrading the polyamide layer of RO membrane, the transformed membrane could achieve high water permeability (85.6 L/㎡.h.bar) and excellent rejection against macromolecules (at least 87.4%), suggesting its reuse potential as UF membrane. More importantly, our findings showed that in-situ transformation on the spent RO membrane using solvent and oxidizing solution could be safely conducted as the properties of the entire spiral wound element did not show significant changes upon prolonged exposure of these two solutions. Our findings are important to open up new possibilities for the discarded RO membranes for reuse in NF and UF process, prolonging the lifespan of spent membranes and promoting the sustainability of the membrane process.

• Proceedings of the Ginseng society Conference
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• 1988.08a
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• pp.133-138
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• 1988

The traditional concept of ginseng quality was investigated in relation to historical experiences. traditional quality measure and mordern analytical method. The traditional concept appears to be based on the original Korean thought of oneness in life and universe. The outside appearance such as shape and size in traditional quality measure includes the inside quality. Since certain shape and size define specific tissues. cells and biologically active substances in cells the traditional measure will he a map for analytical method to find active principles. Traditional method suggests that the balance among biologically active compounds seems to he more important than the large amount of one active compound and that the mode of active compounds in ginseng for the homeostasis of human body is the multicompound to multitarget system. Traditional method strongly suggests the importance of nitrogen compounds. especially soluble protein and heat stable protein for the balance of active principles since nitrogen compounds are more abundant in the central part (xylem-pith) that grows faster than the outer part (cortex-epidermis). The balance of physiologically active principles appeares to be meaningful in relation to the difference in traditional use of Panax species.

• International Journal of Advanced Culture Technology
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• v.9 no.3
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• pp.62-67
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• 2021

This thesis examines the term a performer's sincerity taking into consideration issues of the bodily engagement and specifically addressing the place of a performer's respiration. The main emphasis in this research will be on the tendency to a performer's anticipation in contrast to a state of being in the moment on stage. Exploring and reconsidering the process of training the performer's body reminds us the significance of rigorous training in an appropriate way(s) within which the performer's body enables to meet the principles of acting with the nature of theatre as his/her body is responding and subordinating to the moment on stage. Here, this thesis argues that we need to acknowledge that initiating any bodily movement has to understood and then inhabited by negating a performer's active willingness where the source of energy, breathing roots, then transfers through the entire body rather than the mere use of the external forms or muscles. To be precise, maintaining the internal energy through the moment informs how the performer interrogates where and what s/he is in a state of whole body engagement preventing the performer's self-doubt about what s/he is doing in the next moment(s). The process should be considered as a qualitative bodily shift gazing into his/her inner territory to reach behind a linguistic and/or an intellectual sense. The research finding suggests that a performer's art is to allow the animating respiration in order to facilitate and enliven his/her entire body as oneness which in turn moves his/her scene partner(s) as well as the spectator in the here and now.

• (The)Study of the Eastern Classic
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• no.66
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• pp.277-301
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• 2017

The modern political scientist Liang, qi-chao (1873-1929), who insisted on the richness of China, was a major axis of Korean intellectuals in the nineteenth century. His patriotism for Chinese reconstruction oppressed by Western powers has greatly influenced Korea 's will to build a modern nation. There was military power and physical education at the center of Liang, qi-chao thought. He emphasized military strength through military strength with a strong stamina, so he mentioned the necessity of military and physical education. Based on the idea of this kind of Liang, qi-chao, the korean intellectuals believed that the Korean people should be born healthy through physical education. The initial introduction of physical education in Korea was integrated with the Military Sports. For the first time, Being introduced Western Sports in 1895, The fact that the army athletic gymnastics was first introduced into school education in 1896 proves this oneness. Moreover, Ethnic scholars continued to focus on fostering strong nationality through physical education based on the spirit of Liang, qi-chao, and was emphasizing the gymnastics of the military sportsman at the central idea.

• International Journal of Advanced Culture Technology
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• v.9 no.1
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• pp.58-63
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• 2021

This research aims to reconsider the necessity of an alternative way(s) for contemporary actor training and acting in discussing and articulating Diderot and Suzuki's concepts and approaches for acting/training. First of all, the physical body, assumed and conceptualized by Diderot is beyond our control by means of a type of radical body/mind dualism, and is based on the concept that body and mind are separate. In contrast, Suzuki's notion of acting/training is raised by his concern about the role of an actor's body in the constitution of an actor's bodily experience against the imitation of the West-oriented theatre/acting/training. The descriptions of the two theatre artists' notion of acting/training gives us insight into the place and role of contemporary theatre as a practical root to encounter and communicate between a doer and a spectator where an actor's body must appropriately be attuned and cultivated towards the cultivation of bodily attributes which are foundation but usually neglected by actors/directors/practitioners particularly in Korea. Especially, misunderstanding of a specific training sources/approaches, namely 'scientific system' and the 'method' have taken us away from the potential possibilities of the lived oneness. Here, the 'possibility' refers to the primary bodily functions within a specific context or being in the here and now rather than attempting to copying, imitating and/or adapting a specific cultural source(s)/approaches/techniques as we have faced with through the previous century. We reconsider and argue that a potential way to correspond the nature of theatre/acting/training is that how to meet the demand of contemporary spectators which in turn intensifies an actor's stability, sustainability and hopefully professional identity in this contemporary era.

• International Journal of Advanced Culture Technology
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• v.11 no.3
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• pp.99-105
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• 2023

This thesis discusses a performer's unpredictability and immediacy as a prerequisite quality and/or ability to facilitate his/her professional identity as a doer on stage. To examine the key principles and approaches, this research focuses on addressing a specific aspect of the performer's transformative experience from those, directors, and practitioners' concepts that inform and enhance the performer's passive readiness on stage. To be precise, this research attempt to interrogate and articulate the place and role of a performer's internal readiness and/or that of inner looking. The performer's inner intensity as seed of action signifies that his/her body is being in a state of listening to every tiny moment with his/her heightened awareness which in turn lead the performer's body to meet the demands of theatre, the whole-body engagement. Here, this thesis argues that the key principles of acting/training underlies the importance of a performer's ethical attitude and at the same time his/her responsibility for what the performer's choices and experiences within the performative involvement, that is, a process of preparation, are not technical matter but rather, the concepts, and/or approaches from those theatre artists' practical assumptions highlight a process of thorough encountering and/or listening to his/her body. Inhabiting and/or obtaining the principles through the performer's body means being free from his/her unnecessary trait(s) which in turn initiate and then move the whole body according to what is happening in the series of moment(s) on stage. What is more, such an appropriate psychophysical order reminds us of the significance of the nature of human/performer's body, namely, to being in a state of one's 'own' body as oneness. From this perspective, this thesis further argues that the performer's body necessarily need to be affected and/or triggered in a sense of responding to the given circumstance where the performer is working on in the here and now.

• International Journal of Internet, Broadcasting and Communication
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• v.16 no.2
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• pp.68-74
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• 2024

This thesis explores the embodiment of a performer and a character/role specifically by examining what the term character is associated with and implies in a sense of the performer's bodily training through which what happens to their body. First of all, this research begins to investigate the relationship between a performer and a character centred on the performer's bodily experience through training and/or studio work. From a perspective of a performer, the concept and practical approach of a character itself essentially includes and signifies all the given circumstance of a specific play which has to be acknowledged then inhabited through the performer's body. That is, the internal structure of the text parallels with articulating and developing the spine of a specific character which take place as the substance leads the performer's body to an organic action and/or that of way corresponding to what the character needs and wants to obtain through a series of moment on stage. Here, we argue that the purposeful action as a process and result of applying/inhabiting the substance enhances the performer's body as the whole being participates in the given environment within which his/her body can also work or function by means of the integrated oneness. Second, in a manner of the most fundamental level, both the ethic of acting and the central task of a performer remind us the significance of allowing therefore experiencing subtle bodily movement, namely, responses to stimulus from in/outside of his/her body either visible or invisible on the one hand. At the same time, such a journey of self-discovery empowers the performer to explore new potential possibilities on the other. Finally, as the research finding suggests that these practical insights are necessarily need to be acknowledged as a point of the departure through which the quality of a performer's body is also cultivated by means of the changeable wholeness in order to being on stage.