• Journal of the Korean Institute of Landscape Architecture
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• v.45 no.3
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• pp.66-79
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• 2017

In 2014, a Donghak Peasant Revolution Memorial Park design competition was held with various forms and techniques to convey mourning. This is a process of the reconsideration of memorial projects that are used to stimulate the collective memory and it is a meaningful resource for examining the consciousness of contemporary designers in regards to the memorial designs that are currently under planning in Korea. This study investigated the background of the Donghak commemorative projects that took place at the same site in a timely manner and analyzed the design competition through the existing literature research. Through this, it was seen that the memorial, which was formed by means of past political purposes, has changed into a way to collect various opinions and forms through open design competition. A framework of analysis prepared through multi-layer analysis is daily use, interaction and spontaneity, abstraction, temporality, locality, integration and harmony with surroundings. The results of this study are as follows. First, in order to convey memorial commemoration in everyday life, the projects organized scattered memorial spaces with special characteristics and linked them with daily activities program. Second, the projects used direct participation and emotional experiences to interact with monuments. Third, color, vertical elements, clustering, and park frame manipulation were used for abstract reproduction. Fourth, the projects introduce architecture and furniture that can be changed and plants for temporal change. Fifth, the previous terrain was restored and the setting of the scene was reproduced in order to make the site a space with place. Sixth, to improve the connection with existing monuments, the projects used techniques such as relaxation and the reinforcement of circulation lines and axes. Seventh, a path and a building conforming to the terrain were arranged for harmony with the surroundings.

• (The) Research of the performance art and culture
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• no.43
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• pp.145-172
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• 2021

Shin Myung-soon's is based on the taboo 'bombing of the Han River Bridge'. The reality of the bombing of the Han River Bridge in 1950 and the shooting of Colonel Choi Chang-sik was known only as a word of mouth. At that time, the ruling class did not want to reveal the painful mistakes of the unfavorable war situation in the early days of the war and the false broadcasting of the president. The truth of the case, which was kept completely secret even to the bereaved family, could only be revealed after the regime change. After that, the bereaved family of Colonel Choi Chang-sik confirmed the innocence of the deceased through a request for retrial, and then the was born. However, the fate of was not so smooth. At the time, the performance officials vividly remember the difficulties they had with the text. Despite passing the pre-screening of the script, the performance was canceled just before the performance. The fact that the National Theater, officials from the Ministry of Culture and Education, and even military generals visited the practice room to stop the performance, on the contrary, was a testimony to the dangers of . It can be summarized as a crack in official history and a move to stop it. was later adapted into a special TV drama in 1981 and was first released to the public. This was a very meaningful step in terms of dealing with politically sensitive subjects on television, but the inconsistency of in the first place has largely disappeared. After that, in 1988, only after democracy entered the phase of appeasement, could be performed in its full form. In short, can be said to be an example of a process in which the history of the Korean War recorded from the standpoint of an established order and the counter-memory that crack it up are transformed according to the changes of the times and media.

• Applied Microscopy
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• v.38 no.4
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• pp.279-284
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• 2008

The phase change materials have been extensively used as an optical rewritable data storage media utilizing their phase change properties. Recently, the phase change materials have been spotlighted for the application of non-volatile memory device, such as the phase change random access memory. In this work, we have investigated the crystallization behavior and microstructure analysis of In-Sb-Te (IST) thin films deposited by RF magnetron sputtering. Transmission electron microscopy measurement was carried out after the annealing at $300^{\circ}C$, $350^{\circ}C$, $400^{\circ}C$ and $450^{\circ}C$ for 5 min. It was observed that InSb phases change into $In_3SbTe_2$ phases and InTe phases as the temperature increases. It was found that the thickness of thin films was decreased and the grain size was increased by the bright field transmission electron microscopy (BF TEM) images and the selected area electron diffraction (SAED) patterns. In a high resolution transmission electron microscopy (HRTEM) study, it shows that $350^{\circ}C$-annealed InSb phases have {111} facet because the surface energy of a {111} close-packed plane is the lowest in FCC crystals. When the film was heated up to $400^{\circ}C$, $In_3SbTe_2$ grains have coherent micro-twins with {111} mirror plane, and they are healed annealing at $450^{\circ}C$. From the HRTEM, InTe phase separation was occurred in this stage. It can be found that $In_3SbTe_2$ forms in the crystallization process as composition of the film near stoichiometric composition, while InTe phase separation may take place as the composition deviates from $In_3SbTe_2$.

• Journal of the Korean Institute of Landscape Architecture
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• v.39 no.3
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• pp.26-38
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• 2011

The purpose of this study was to analyze the commemoration culture of Vietnam War Memorials (VWM) in Vietnam. Through site survey, the researcher selected 23 VWM in Vietnam and analyzed 5 categories: memorial type, design concept and narratives, location and spatial form, landscape elements, and content expressed in landscape details. The results are as follows: 1. Because of the long, drawn out Vietnam War, which lasted from 1955 to 1975, VWM were divided into 10 types mainly as soldier cemeteries based on a traditional memorial style, battlefields and places of tragedies considering sense of place, war museums representing victory and atrocity in war, and peace parks promoting reconciliation and peacemaking. 2. The analysis revealed that the main concepts and narratives of VWM were to value the victims of the Vietnam War, remember soldiers' contributions, highlight the victory in war and resistance to the United States, and express a sense of place. Peacemaking applied only to My Lai Peace Park and Han-Viet Hoa Binh Cong Vien, built by international cooperation. 3. Cemeteries and appreciation memorials were designed to follow a traditional memorial space form that highly regard both axis and symmetry. The design concept at battlefields and places where tragedies occurred depended mainly upon a sense of place and used symbolic landscape elements to compensate for the undefined concept. 4. Sculptures and towers were mainly used to highlight war victory and resistance as the representative style of a Socialist country, weapons and pictures exhibited in war museums and battlefield showed the reality and strain of war. Symbolic elements of Buddhism and Confucianism were often introduced as a way to venerate the memory of deceased persons. 5. The state and heroic actions in the Vietnam War were realistically depicted on sculptures and walls. Also, the symbolic phrase, 'TO-QUOC-GUI-CONG' meaning 'our country remember your achievement', were written on the memorial tower and 'Quagmiire' was used to metaphorically represent the difficulties faced by the U.S. military on battlefields during the war and the uncertainly that pervaded U.S. society in those days. 6. In VWM, ideologies like nationalism, patriotism, socialism, capitalism were mixed and traditional cultures like Buddhism, Confucianism, Taoism were inherent. Differing from their Confucianism culture, war heroes, particularly including women, were often described by sculpture, monument, and pictures and the conflict in and outside the country regarding the Vietnam War was shown. Further study will be required to analyze design characteristics of VWM in the u.s. and to understand the difference in commemoration cultures between Vietnam and the U.S.

• Korean Institute of Interior Design Journal
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• v.26 no.6
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• pp.210-221
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• 2017

First, we can define how our body perceives the external world and embodies its senses through the philosopher Merleau - Ponty. These philosophical orientations of Merleau-Ponty also appear to urban theorists such as Jane Jacobs, Gordon Cullen, and Juhani Pallasmaa. In other words, after the Second World War, people began to pay attention to human emotions and perceptions while opposing human rational thinking. Especially, they reject the abstract space of modernism and explore the everyday city space where the local character of the area lives. This place is a space where the collective memory of the group is shared over several generations. So, in this space, people's active perceptual system works actively. In the sense of this continuity of time, their ideas intersect with the concept of urban. Specifically, Jacobs criticizes massive development and proposes the development of a small block-based city with a commonality of old and new. In addition, we argue that urban space can be a visually interesting object through the continuous visual concept of urban theorist Cullen. In particular, he rediscovers the value of traditional urban space through visual experience between architecture and urban facilities. Finally, the architectural city theorist, Pallasmaa., criticizes the visual centrality of modern cities and thinks about the value of multidisciplinary space that can be experienced in architecture. This study examines the space of reproduction in detail on the perspective of the body philosophy and urban theorists. In other words, the play space inherits the natural city time, so when our body experiences this play space, we can actively sense and perceive the various senses. So we can invoke the active external actions of our bodies. Through the analysis of the size of the reconstruction space of the architectural city, various types of body senses and responses can be. Yoon Dongju Literary Museum, which renovated the old water tank of the city, can recognize the unfamiliar sense of body in everyday life through the traces and smells of water in the past and the restrained visuality. In addition, Seonyudo Park, which regenerates the waste water purification plant, can experience a phenomenal phenomenon through water space, old concrete and traces of steel. Finally, with the most recently played Seoul Road 7017 can experience interesting urban spaces in terms of a variety of plants, a human scale space creating movement, and a continuous visual.

• The Bulletin of The Korean Astronomical Society
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• v.43 no.1
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• pp.34.2-35
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• 2018

Galaxy transition from star-forming to quiescent, accompanied with morphology transformation, is one of the key unresolved issues in extragalactic astronomy. Although several environmental mechanisms have been proposed, a deeper understanding of the impact of environment on galaxy transition still requires much exploration. My Ph.D. thesis focuses on which environmental mechanisms are primarily responsible for galaxy transition in different environments and looks at what happens during the transition phase using multi-wavelength photometric/spectroscopic data, from UV to mid-infrared (MIR), derived from several large surveys (GALEX, SDSS, and WISE) and our GMOS-North IFU observations. Our multi-wavelength approach provides new insights into the *late* stages of galaxy transition with a definition of the MIR green valley different from the optical green valley. I will present highlights from three areas in my thesis. First, through an in-depth study of environmental dependence of various properties of galaxies in a nearby supercluster A2199 (Lee et al. 2015), we found that the star formation of galaxies is quenched before the galaxies enter the MIR green valley, which is driven mainly by strangulation. Then, the morphological transformation from late- to early-type galaxies occurs in the MIR green valley. The main environmental mechanisms for the morphological transformation are galaxy-galaxy mergers and interactions that are likely to happen in high-density regions such as galaxy groups/clusters. After the transformation, early-type MIR green valley galaxies keep the memory of their last star formation for several Gyr until they move on to the next stage for completely quiescent galaxies. Second, compact groups (CGs) of galaxies are the most favorable environments for galaxy interactions. We studied MIR properties of galaxies in CGs and their environmental dependence (Lee et al. 2017), using a sample of 670 CGs identified using a friends-of-friends algorithms. We found that MIR [3.4]-[12] colors of CG galaxies are, on average, bluer than those of cluster galaxies. As CGs are located in denser regions, they tend to have larger early-type galaxy fractions and bluer MIR color galaxies. These trends can also be seen for neighboring galaxies around CGs. However, CG members always have larger early-type fractions and bluer MIR colors than their neighboring galaxies. These results suggest that galaxy evolution is faster in CGs than in other environments and that CGs are likely to be the best place for pre-processing. Third, post-starburst galaxies (PSBs) are an ideal laboratory to investigate the details of the transition phase. Their spectra reveal a phase of vigorous star formation activity, which is abruptly ended within the last 1 Gyr. Numerical simulations predict that the starburst, and thus the current A-type stellar population, should be localized within the galaxy's center (< kpc). Yet our GMOS IFU observations show otherwise; all five PSBs in our sample have Hdelta absorption line profiles that extend well beyond the central kpc. Most interestingly, we found a negative correlation between the Hdelta gradient slopes and the fractions of the stellar mass produced during the starburst, suggesting that stronger starbursts are more centrally-concentrated. I will discuss the results in relation with the origin of PSBs.

• Journal of the Korean Institute of Landscape Architecture
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• v.36 no.2
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• pp.14-23
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• 2008

Ran Gang is a huge, attractive river which meanders through Seoul, the capital of South Korea. However, during the modernization of Seoul, the river gradually lost its natural beauty and healthy condition. Han Gang Renaissance is a project to upgrade the look of the Seoul waterfront, by overcoming this disaster and reorganizing the surroundings of Han Gang. This research articulates the design strategies and description of the prizewinning work of the International Design Competition for Yeouido Riverside Park that was linked to the Han Gang Renaissance Project. There are three key points that basically speak to the identity of the new waterfront, Yeouido Riverside Park. First, the current day Yeouido was recreated as an artificial island through the rapid expansion of the city and the initiation of the shore protection works. However, because it is the only island still remaining that shows the history of Han Gang, the park was designed to be the place which preserves the lyric of sand island and the emotional memory of riverside. Secondly, among the six districts of the Han Gang Renaissance Project, the two districts that are facing each other, Yongsan and Yeouido, are the central areas promoting international finance and business. Despite Yongsan's complete urban image, the exquisite harmony of pastoral scenes and skyscrapers of the Yeouido waterfront is presented to develop an active mutual relation with Yongsan. Lastly, this design scheme re-establishes the relationship between this competition's site, Yeouido Riverside Park, and a neighboring site, Yeouido Park.

• The Southeast Asian review
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• v.21 no.1
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• pp.137-184
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• 2011

This article is aimed at understanding the political narratives represented in the National Museum of Indonesia. Starting initially as a colonial museum, the National Museum of Indonesia functioned as a useful tool for the Dutch colonial force to fuel its imaginations of the colonial territory and the people within it. The Dutch used the cultural display to advertize its benevolent colonial rule. All the while, the museum also inevitably reflected orientalism on the people and the culture of the colony. The republic of Indonesia inherited the colonial museum's practices and its display patterns. The business surrounding the museum also played a key role in the newly-born nation-state laying out a future for its redefined territory and people. Thus, what the colonial force imagined for the colonial territory through the study of museum displays was rather directly transferred to the republic without serious consideration of the decolonization process. Four main characteristics have been seen in the museum displays. The first is an emphasis on the glorious Hindu-Buddha history, from which numerous temples, statues, and jewelry have been found. Secondly, the Islamic period, which spanned between the Hindu-Buddha times to the colonial era, has almost completely been eliminated from the display. Third, the colonial era has been depicted as the time of Europe's exportation of scientific tools and adaption of sophisticated living patterns. Fourth, the images of ethnic groups were represented as being stagnant without reflecting any challenges and responses that these groups had faced throughout history. Looking at these display patterns, it can be concluded that all the dynamic internal developments and anti-colonial resistance that took place during the Islamic and Colonial Era have simply not been represented in the museum display. These display patterns do not reflect the real history or culture of the archipelago. Two considerations are thought to have influenced the neglecting of social realities in the display. The first of which is the Dutch's and Republic's apprehension over the possible political upheaval by the Islamic forces. Yet, more fundamentally, cultural displays themselves are distinct from historical education in that the former pays more attention to business ideas with an aim to attract tourists rather than to project objective historical knowledge. Thus, in cultural displays, objects which work to stimulate fantasies and spur curiosity on archipelagic culture tend to be selected and emphasized. In this process, historical objectivity is sometimes considered less vital. Cultural displays are set up to create more appealing narratives for viewers. Therefore, if a narrative loses its luster, it will be replaced by another flashy and newly-resurrected memory. This fact reveals that museums, as transmitters of historical knowledge, have a certain degree of limitation in playing their role.

• The Korean Journal of Archival Studies
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• no.44
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• pp.155-197
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• 2015

Disaster of Sewol took place in one year. Meanwhile, the victim's family and the call time record academics have tried to record it. Ansan activists have moved to objectives such as civil records committee also pivotal. The citizens committee under the dictation recording oral history team has a diverse group of people associated with the time issue. bereaved families were collected from the oral as well as volunteers, religious personnel, activists, Ansan citizens and various people. Disasters around the world is also an important event to remember and honor the people together, and one of the most effective means to record There it is establishing an oral history archive. Does not leave a lot of nature history of sudden disasters that occur, as well as a tribute record dictation telling people of diverse perspectives on events helps a lot closer to the reality of the event. Erected in the National September 11 Memorial Museum to honor the Sept. 11 attacks and provide a variety of programs to chaerok dictation of the people involved with 9/11. To remember the 2013 Boston Marathon bombing 'Our Marathon' of crowdsourcing digital archive was built. In the archives of the local universities and institutions were created to collaborate actively and gathering oral history. Pan Am Flight 103 pieces terror has established an archive from Syracuse University. Here, neither graduates, faculty, and to the victim's family and friends gather and oral hitory. Disaster-related Sewol neither should be able to be used as in the case of foreign well, and it should continue to honor the victims of the collection. It also ought to occasion again to avoid this disaster on earth.

• The Journal of the Convergence on Culture Technology
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• v.7 no.4
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• pp.113-122
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• 2021

This study begins on the basis of Jacques Lacan's article 『Logical Time and Assertions of Preemptive Certainty: A New Sophism』 published in the reissue of 『Art Note Les Cahiers d'Art』 in March 1945. In this paper, a guard presents an esoteric problem to three prisoners. If the problem is solved, the prisoner is released. A condition is given to solve a problem. Conversation between prisoners is prohibited, and the disc behind them cannot be seen. In this time and space, prisoners place themselves in logical time through the 'time of understanding' in order to become the chosen ones. We always live in logical time. We will argue the point at which Lacan destroys logical time in psychoanalysis. Time in Lacanian psychoanalysis transcends time divisions of the past, present, and future. Our time is always the past in the present. In Lacanian psychoanalysis, logical time is the time in the Other. The transcendence of the Lacanian psychoanalysis concept of time shows the deviation of logical time. In this text, We try to prove how Lacan contrasts psychoanalysis and the problem of time with time in the other. First, we will examine how logical time and impulse are related in psychoanalysis. Second, the postmortemity of the signifient (signifier) will be discussed. Third, Lacan psychoanalysis will present the transcendence of time. In conclusion, We will present the view that the time of Lacan psychoanalysis is flowing backwards. In Lacanian psychoanalysis, we try to prove that logical time is in the territory of the Other and is infinite time.