• 한국전통조경학회지
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• 제34권3호
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• pp.1-17
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• 2016

본 연구는 고종 연간 경복궁 후원의 북쪽에 조성된 오운각 권역의 특성과 창덕궁 후원 옥류천에 구비되어 있던 기능적 요소가 경복궁 후원으로 치환되었던 양상을 고찰한 것이다. 오운각 권역은 샘과 천하제일복지 각자가 있던 기존의 공간을 활용하여 왕의사적인 공간으로 정비된 공간이었다. 고종은 오랫동안 창덕궁 옥류천이 담당했던 왕실의 휴식과 위락기능을 중건 경복궁에 그대로 옮기려 하였다. 그 결과, 옥류천과 유사한 기능을 하도록 조성된 오운각 권역이 후원의 별원으로 개발되었다. 양자 간에는 후원의 최북단에 조성된 입지 외에도, 건물의 구성 및 유배거의 기능을 했던 것으로 추정되는 관상용 수경설계 등에서 공통점이 발견되었다. 오운각 권역은 옥련정, 오운각, 벽화실과 천하제일복지천의 수경시설로 구성되었다. 이중에서 벽화실을 제외한 나머지는 모두 옥류천과 직간접적인 관련성을 갖되, 지형의 굴곡, 경사, 수계의 상황 등 주어진 입지조건에 따라 조성되어 색다른 정감을 갖는 공간으로 개발되었다. 먼저, 옥련정은 남산에 이르는 서울의 경관을 조망하기 위해 높은 언덕에 입지하였고, 천하제일복지천의 독특한 형식의 수로는 위이암의 유배거의 기능을 모방한 형태로 추정된다. 한편 오운각은 옥류천의 농산정과 같이 주거가 가능한 집으로 조영된 것이었다. 이러한 구성요소는 다분히 옥류천의 기능과 위상을 경복궁에 치환하기 위한 조성목적을 표출하고 있으며, 이러한 점은 조선시대 궁궐 후원의 기능 공간이었던 별원의 특성을 잘 대변하는 것으로 해석되었다.

• 한국환경복원기술학회지
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• 제23권4호
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• pp.69-84
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• 2020

Up to date, the majority research on the major landscape elements in organic farming has been mainly focused on the practice of seeking efficiency. The problem is that this type of study contributes to polluting the agricultural environment and damaging the ecological circulation system. As an alternative, there is a growing body of research on organic farming, but it is not widely applied that research on how to manage the landscape considering the scenic characteristics of farming villages practicing organic farming. Hence, in this paper we utilized landscape adjectives as a way to enhance the objectivity of the organic agricultural complex landscape assessment. More specifically, not only this study used a landscape image of an organic agricultural complex to identify a landscape adjective suitable for the landscape elements but also this study confirmed the suitability of landscape adjectives comparing to the opinions of experts and the public. To carry out, this study performed the experts survey which is composed of 12 major landscape elements, including rice paddies and fields, monoculture and diverse crops, dirt roads, windbreak trees, accent planting, dum-bung(small pond), natural small river, natural waterways, plastic film houses, one-storied houses, and pavilion. As a result of deriving the landscape adjectives from the main landscape elements, there were nine landscape adjectives that were consistent with experts and the public, including "clear" and "Artless" for rice paddies and fields, while the mismatched landscape adjectives were 'traditional'. The accent planting was a combination of landscape adjectives such as 'natural' and 'clear', while the windbreak trees was a consensus of all landscape adjectives. Only two adjectives, 'friendly' and 'wild', agreed on the dirt load, nine dum-bung(small pond), ten natural small river, nine duckery, eight one-storied houses, 10 pavilion, eight monoculture and diverse crops, and three natural waterways. The most common landscape adjectives were windbreak trees, pavilions, and natural small river, all 10 landscape adjectives. However, it is considered that only three of the 10 landscape types on the dirt road and the natural number are matched. Thus, additional management measures will be needed. In addition, it was analyzed that the most common landscape adjectives were "Artless" and "friendly" 13 times. The landscape adjectives of the organic farming complex responded by experts were analyzed to be suitable for natural, clear, zingy, silent, traditional, artless, friendly, wild and Leisurely, and consistent with the general public's opinion.

• 농촌계획
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• 제26권2호
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• pp.107-116
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• 2020

Up to date, the majority research on the major landscape elements in organic farming has been mainly focused on the practice of seeking efficiency. The problem is that this type of study contributes to polluting the agricultural environment and damaging the ecological circulation system. As an alternative, there is a growing body of research on organic farming, but it is not widely applied that research on how to manage the landscape considering the scenic characteristics of farming villages practicing organic farming. Therefore, this study was carried out in the conservative aspects of rural landscapes in order to effectively manage the landscape of organic agriculture and, intended to be used to maintain and preserve natural and ecologically harmonious landscapes by deriving management methods suitable for landscape elements targeting the major landscape elements of the organic farming complex. To carry out, this study performed the experts survey which is composed of 13 major landscape elements, including rice paddies and fields, monoculture and diverse crops, dirt roads, windbreak trees, accent planting, dum-bung(small pond), natural small river, natural waterways, plastic film houses, one-storied houses, and pavilion. As a result, Farm land was formed in a square shape, concentrated in an independent space, planted companion plants around the crop, and covered with plants to manage the borders. As for the surrounding environment, it was analyzed that the aspart road system circulating through the village, the evergreen broad-leaved windbreak forest around the cultivated land, and the accent plant located at the entrance of the village were suitable. The hydrological environment consists of Round small pond made of stone in an open space, natural rivers around the village, and natural channels around the farmland, and The Major facilities are suitable for greenhouses that are shielded by plants in independent regions, and wooden duck houses located inside the cultivation area are suitable and The settlement facilities were analyzed to be suitable for single-story brick houses located in independent residential areas, pavilion located with greenery in the center of the village, and educational spaces shielded with wood from arable land. If supplementary evaluation criteria suitable for the management of organic farming landscape are additionally supplemented based on the results derived from this study, It is expected to enhance the landscape value of ecologically superior organic farming.

• 건축역사연구
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• 제15권3호
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• pp.81-98
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• 2006

Choryang Waekwan was the biggest Japanese settlment to house the Japanese diplomatic mission and traders in Korea. Waekwan means Japanese Pavilion literally, but the reality of this Waekwan exceeded much the scale of single architecture. Since Choryang Waekwan was closed in the second half of the nineteenth century, the site of this settlement grew rapidly as the downtown of Busan, which was the first port open to foreign countries in modern Korea. The formation of modern port owes much to the presence of Japanese settlment in Lee Dynasty as long as Choryang was officially designated as the trading port toward Japan and vice versa. Busan is the nearest city to Japan, in fact. Within a day ships could reach Tsushima Island, the island region north of Fukuoka, which played an intermediary role between Seoul and Edo. No architectural remain could be seen on the actual site of Choryang Waekwan. The site has become one of the busiest centers in Busan with quantify of office buildings and shops. The former Busan City Hall was located in this area. The field survey of the site as well as the analysis of historical documents, which were newly found both in Korea and in Japan, enabled to reconstruct the architecture and cityscape of Waekwan by way of computer graphics.

• 한국실내디자인학회논문집
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• 제25권1호
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• pp.13-23
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• 2016

2014 Venice Biennale of Architecture, presented by general director Rem Koolhaas, has shown the distinct difference between his present displays and past displays. Under the theme of FUNDAMENTALS and ABSORBING MODERNITY, Rem Koolhaas has developed his own unique way which is a research-oriented display technique to explain the difference at the exhibition. The purpose of this study is to define a research-oriented display technique as realism rhetoric for the opened dialectic and identify its aspect of a methodic approach. This report investigated not only Rem Koolhaas's thought and theoretical approach through his work but also the comparison of between his present and past displays. His display is based on the constellation of Central Pavilion, National Pavilions, and Arsenale display and reflected the reality of architecture in self-deception through the metonymical interaction of various facts and records. Rem Koolhaas called it the composition of contradiction. In his work, the spatial situation which is the present has been made with the intervention of historical events and has revived the reality of architecture. Also, the present is a montage of the strict control of architecture, the isolation from the architecture itself, and the autonomic communication with other fields. Finally, as a result of his work, Rem Koolhaas has shown that his display is not the end of phase but a phase of creation.

• 한국농촌건축학회논문집
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• 제20권1호
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• pp.37-44
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• 2018

The purpose of this study is to know how to make common space, find a type of it, and build a village landscape with it in countryside. There are five types of village including suburban according to typological locality in rural area. Each of them have remarkable common spaces that are combined with community identity and usage. They usually are located along with the street and lane of the village. Most of the villages I surveyed have common places for residents to rest, share, and meet together. Representatively, pavilion with symbolic tree we call Jeonja is very popular place to them, and village people also require public parking or pocket park in their modern life. I researched common places in ten communities in rural area so that I can suggest a way of community design through them. According to this research, there are three results. First, the common space of the village is placed to motivate emotional and attractive community design in the village. Second, the common space has an identity and landscape architectural relationship to build sustainable community. Third, countries' streets that I surveyed have four types, which are liner, tree, loop, and radiate patterns of lane. In line with those types, each one makes different and historical community landscape.

• 한국주거학회논문집
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• 제13권3호
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• pp.61-69
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• 2002

This research is to analyze the spatial organization of a traditional rural community and its characteristics, the case of Hanbam village located in the north of Daegu city. The conclusions of this study are as follows; 1. The difference between private space and public space in the residential area of Hanbam village is obvious, and these two spaces are organically related each other by means of road. These spaces have some spatial characteristics of organization, such as center, hierarchy and sequence. 2. The private space consists of a residence module and a farming area in the settlement, and it is clearly farmed by the firm fence of rocks and by surrounding roads. Fruit-bearing trees such as Pyrus pyrifolia, Cornus officinalis, Diospyros kaki, Juglans sinensis are planted at the boundary. And most of residences are composed of a building, a inner court and farming fields. 3. The public space for the community mainly functions as ‘a meeting place’for residents, and consists of recreational spaces, ceremonial spaces, community facilities, and social facilities. Among these, Jeong-ja(pavilion), Seong-an Soop(forest) and Dae-chong(building for common use) are of great cultural value as important traditional spaces. 4. Two kinds of road are commonly fecund in the village; spontaneously generated one and planned one. This is straight inner streets and access paths to the village, and that is curvilinear alleys which are connected to Dae-chong, the core of village. Also stone walls and climbing plants on them are major elements of village landscape.

• 한국실내디자인학회논문집
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• 제13권4호
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• pp.147-155
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• 2004

The purpose of this research is to improve exhibition effectiveness by implementing hands-on exhibition technique that best provides adults with cultural resting place and children with outdoor education which simply supports school curriculum. By completing this research, the museum of natural history will become defined innovative as a place that enables people actively develop creativity For this sake, some of domestic natural science museums were selected as the samples in this study, such as Seodaemun of Natural History, Incheon Standing Science Pavilion and Daejeon National Science Museum, Which all produce experience-based exhibition in relatively brisk manner. First of all, this study attempted to identify the traffic line and behavioral characteristics of spectators who used experience-oriented exhibition through follow-up and observational study Then it divided samples into adults and children group to compare and analyze the ratio of using exhibitions, the ratio of spectators and the sojourn time according to the type of experience-oriented exhibitions. In addition, this study attempted to collect available data about spectators who were in conversation with one another on the other hand, it also attempted to determine any effects on using experience-based exhibition by performing a questionnaire survey, so that it might set up an index for behavioral characteristics the spectators who visit such exhibition.

• 한국실내디자인학회논문집
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• 제24권6호
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• pp.119-127
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• 2015

Sou Fujimoto is well known as the 3rd Japanese architect to participate in the Serpentine Pavilion project, especially youngest of all architects. His projects seem very experimental yet inviting, modern yet comforting and these feeling may be resulted in his metaphor of 'Forest' that is very often mentioned in his writings which originally comes from his personal experience of the city and nature. The purpose of this paper is to understand the Fujimoto's metaphor of 'Forest' and design language he uses to express this very idea. The researchers have analyzed Fujimoto's writings and interviews in order to understand his general design ideas and process, then extracted wordings describing 'Forest' in his works. Four main concepts were found and categorized as follows: blurring territorial boundaries, proliferation of parts, manipulating spatial relationships, and ambiguity in function. Then two or three projects were selected and analyzed in each category to understand design methods used. The results show that Fujimoto enjoys using gradation of density to blur territorial boundaries in order to express ambiguous outline of forest, and fractal reproductions in proliferation of parts to uses express wavering whole and modifying angles in manipulating spatial relationships to show hidden order.

• 한국실내디자인학회논문집
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• 제24권6호
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• pp.87-95
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• 2015

Aldo Van Eyck and Herman Hertzberger explained 'In-between space' as an intermediate space between opposite elements such as whole and parts, inside and outside, open and close, central and decentral. From this idea, the meaning of 'in-between space' has developed and applied to works of Bernard Tschumi and Sou Fujimoto. In this study, the meaning of 'in-between space' was compared and analyzed based on two architects' works to reveal the design approach in terms of 'in-between space' Final Wooden House, N House, and Serpentine Gallery Pavilion among Sou Fujimoto's work were selected and Le Fresnoy, Lerner Student Center, and Acropolis Museum among Bernard Tschumi's work were selected to analyze. To understand their design approach, their works were compared and analyzed in architectural attitude, tools, construction style and the approach, concept, theme, relation, direction of in-between space. As a result, Sou Fujimoto uses 'in-between space' as a nebulous approach as intermediate space between opposite elements. For Bernard Tschumi, 'in-between space' is also an intermediate space to emphasize and make a tension between opposite elements. It is a method of solving the contradiction condition between old city environment and new architecture.