• Korean Journal of Construction Engineering and Management
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• v.5 no.6 s.22
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• pp.218-225
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• 2004

The supply for the apartment complex in Korea has been accomplished by the sale before building system as a way of institutional means to support massive housing supply in the past. Although this sale before building system has helped the provision of the housing, the necessity of that has been weakened in the current housing market. As this market is changed to emphasize on consumer, the necessity of conversion to sale after building system was raised and finally enforced partially. However, the sale after building system has difficulty in ensuring construction fund and the safety of housing business. So, the diversification in the style of business structure we and the strategy for the activation of construction fund will solve these problems. Consequently, this essay examine the change and influence in the construction fund after adopting sale after building system and suggest the appropriate strategy in project financing for providing fund and reducing the risk in construction business.

• The Journal of the Korea Contents Association
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• v.16 no.10
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• pp.443-453
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• 2016

The Petroglyph is a drawing on the rock which reflects the art, religion, myth, and life style of prehistoric society. Recently lots of researches have been studied to develop the contents applying the petroglyphs in the fields of exhibition, education, entertainment, and commercial. This research aims to find some possible VR contents based on the petroglyphs text. The review on the Ulsan petroglyph museum which is the first and the only petroglyph museum in Korea was the first step. Some limitation and problems were found in the current contents which could be overcome by using VR technology. The next step was the overall review of VR system and devices, and then I analyzed five cases of VR contents which specifically applied to the cultural heritages. Based on the analysis of case studies I propose some possible VR contents more immersive and interactive covered with whole range of petroglyphs context, environmental, social, cultural, technical and artistic.

• Journal of the Korea Fashion and Costume Design Association
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• v.10 no.1
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• pp.135-144
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• 2008

The reason that we are familiar with fashion from the 1950s is because of the work such as New Look done by a french fashion designer, Christian Dior who had taken on an almost mythical significance by his name. Moreover, in the sense of popularity, the appearance of Marilyn Monroe and Audrey Hepburn, two typical Hollywood actresses who each has directly-opposed image, is the symbol of youthful America of the 1950s and represents the remarkable start of the American fashion. Still, these days designers and mass medias recall the fashion from the 50s remaking and parodying it to suit public's taste. Being due to the World War II, Europe suffered not only the loss of its national tradition and reputation but also got a fatal blow politically and economically. On the other hand, the United States of America occupied a primary position in the world and outstandingly became the most powerful country. The American fashion of the 1950s represents youth and newness and rejects outdated and outmoded style. In this period, appears the indication which announces previously the youth culture. Poodle skirt is the fashion item that acquired popularity among young american women and girls in the late 1950s. In effect, it is the fashion as American as apple pie. A costly A-line skirt had been transformed into a cheap felt skirt. Instead of a real poodle dog which was carried by French women like an accessory, they embroidered a poodle dog on the lower edge of their skirt. As deriding the snobbish gait, they swayed themselves frantically to the rhythm of Rock n' Roll which swept those days. This was an attitude of young Americans against the existing trend of Europe. Poodle skirt showed the free spirit and intention of young people unbound to custom and established vogue. In addition, in the aspect of comprising the American spirit of independent, pioneer, and subjective American people, it goes beyond the bounds of common concept of fad. Poodle skirt is an unique symbol of the 1950s' American fashion which prognosticates the advent of the United States and the success in modern fashion world which was changing after 1950s.

• Journal of the Korean Society of Costume
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• v.65 no.2
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• pp.105-124
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• 2015

This research was started to study how the design identity of an overseas fashion house was formed, changed and connected. For the purpose of the study, Saint Laurent House was selected as the subject of the study, because it began as a couture house and launched the $pr\hat{e}t-\grave{a}-porter$ for the first time among the designer brands, and also contributed to the development of modern women's fashion. Literature survey on related books and papers was performed to study the Saint Laurent House. Then, fashion collection photos of the house from 1962 SS to 2014 SS were collected to analyze and compare the features of the designs. The photos were collected from related books, fashion magazines and internet sites. The results are as follows: The features of Yves Saint Laurent's early designs were contemporarily sensational with their couture tradition. His representative designs including Le Smoking, Pea Coat, Loose Fit Blouse, Safari Look, Jumpsuit, Ethnic Look and Art Look became the signature looks of the Saint Laurent House. His designs expressed the liberation of sex, multi-cultural sensitivity and the fusion of art and fashion. His successor, chief designer Tom Ford designed with strong sensitivity of his own. He dealt with Yves Saint Laurent's design themes and signature looks in sensual as well as trendy and sophisticated way. Stefano Pilati showed the Parisienne chic and elegance. He re-made the legacies of Yves Saint Laurent with his own design style using new materials or cutting technique. Hedi Slimane reinterpreted the signature looks of the house with his rock' n roll mood for young, modern women while reflecting the spirit of Yves Saint Laurent's early stage. In conclusion, the design identity of Saint Laurent House is not just a fixed one. By the subsequent chief designers, the signature items and design spirit of Yves Saint Laurent have been succeeded, reintroduced or changed to be trendy and to reflect the designers' design sensitivity. All of these make and maintain the design identity of the fashion house.

• Journal of architectural history
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• v.21 no.4
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• pp.7-24
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• 2012

The Buddhist cave temple carved into the rock provides a large space for the ritual in general in which a structure of Stupa is built in the center of the space purely for religious worship empty of Sarira, and the temple is formed around this Stupa. Relief-Stupa of the cave temple indicates the similar shape that of Relief-religious worship of flat land temple. However, there appears a small difference in representation since the background of formation of the cave temple differs in that of flat land temple. Specially, Caitya Stupa of currently existing cave temples have been damaged to lose of their original shape only possible to be analyzed the stylistic development through Relief-Stupa from which the characteristic of Stupa could be understood. The early cave temple could be characterized with a balanced structure consists of upturn bowl, steeple stone with simple drum & Hamikawasnagae, in which it appears strongly the detail factor characteristics of drum & steeple of having system with Caitya Stupa. In the post cave temple, the subject of worship moved to statue of Buddha due to the influence of Gandhara, Mathura art which reduced the importance of Stupa. This illustrates in Relief-stupa as well the style change as well as changes in detail factor. The sculpture appeared at the limited location either the wall of Caitya shrine or pillar in vihara cave with stronger decorative meaning. Contrast to the Relief Stupa of early flat land temples or the cave temples mentioned above sculptured with symbolism, however, the post cave temple showed the relief structure based on the plan of flat plan.

• Journal of People, Plants, and Environment
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• v.23 no.1
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• pp.101-114
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• 2020

This study focused on the composition of the exterior space of Parkjinsagoga, the types of gardens and planting and the landscape characteristics of walls, and examined its meaning as modern garden remains. Parkjinsagoga is a modern Korean house that harmonizes traditionality and practicality, and is an invaluable material for research not only on architecture but also on changes in the gardens of upper-class gardens. Its exterior space can be divided largely into An-chae (inner house), Outer Sarang-chae (outer house) and Inner Sarang-chae areas, and a garden was created in each yard (inner garden). In particular, one thing noticeable is that the yard of Inner Sarang-chae, unlike traditional gardening styles, was actively decorated. At the center of the yard of Inner Sarang-chae, two atypical planters and artificial moundings were created and the traffic line of the garden was designed to enjoy them while walking. An atypical pond was created on one of the artificial moundings and trees and shrubs were densely planted. Natural stones were also placed. The style seemed to be affected by Japanese gardens. These characteristics observed in the gardens of Parkjinsagoga are closely related to the transitional characteristics that traditional gardens started to show in modern times. A total of 35 families and 57 species were planted in the gardens of Parkjinsagoga and there were 19 species of tall trees, 20 species of shrubs and 17 species of flowering plants. The number of species planted in the garden of Inner Sarang-chae was the highest, and a total of 22 species of tall trees and shrubs. The walls in Parkjinsagoga were basically earth and rock-fill walls but their materials and patterns differed depending on the type of spaces. Four types of walls were found to be introduced to the house.

• Korean Journal of Heritage: History & Science
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• v.53 no.3
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• pp.224-243
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• 2020

The rock-cut relief of two Buddhas seated side-by-side in Wonpungri is a large Buddha sculpture in relief on the side of a cliff in Wonpung-ri, Goesan. This Buddha sculpture is from the Buddhist scripture Sutra of the Lotus. <法華經> Two seated Buddhas statues were prevalent in the Balhae Kingdom, but this was not popular in Silla and Goryeo. In the main text, the time that the two seated Buddhas in Wonpung-ri was created is identified as being during the 10th century. King Gwangjong created a Buddha statue for political purposes. The relief of two seated Buddha image carved on a cliff is located on an important traffic route over the Sobaek Mountain Range. After King Gwangjong took the throne, he paid close attention to the reigning powers of Jincheon and Cheongju because the people of Jincheon and Cheongju were engaged in a power struggle against Gwangjong. The huge relief of two seated Buddhas statue shows the authority of King Gwangjong. In particular, the people of Jincheon and Cheongju had to see this Buddha statue when crossing the Sobaek Mountain Range. The image contained in the relief of the two seated Buddhas features many characteristics of the sculpture style of the Balhae Kingdom. After the fall of Balhae, many of the Balhae people settled in Mungyeong. Balhae people from Mungyeong participated in the production of the relief of the two seated Buddhas. Through the relief of the two seated Buddhas, King Gwangjong wanted to show the people of Jincheon and Cheongju that the Balhae people were supporting him. The relief of two seated Buddhas reflects the historical situation of the King Gwangjong era in the late 10^th century and the style of sculpture.

• Korean Journal of Heritage: History & Science
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• v.51 no.3
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• pp.104-121
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• 2018

The purpose of this paper is to contribute to a more comprehensive understanding of the Buddhist art in Jeju which has rarely been in the mainstream discussions about the Korean art by focusing on the statues of Jabok Mireuk, or Maitreya of Wealth and Fortune. The Buddhist art in Jeju reached its heyday during the late phase of the Goryeo period (918-1392). The imperial court of Yuan (1271-1368) established Beophwasa, one of its guardian temples which was also a "complementary temple" of Goryeo (918-1392). In 1296, the community of monks based in Myoryeonsa Temple published the Jeju edition of the Buddhist canon granted by the royal court of Goryeo, contributing to the foundation of the island's academic culture. Other items representing the heyday of the Buddhist art of Jeju include the Vajra Guardian carved on the greenschist pagoda of Sujeongsa Temple built during the late Goryeo period and the Five-story Stone Pagoda of Bultapsa Temple made from the locally obtained basalt rock during the early $14^{th}$ century. The Buddhist art of Jeju during the Joseon period (1392-1910) is represented by Jabok Mireuk, or Maitreya of Wealth and Fortune, a pair of stone statues of Maitreya Buddha carved to feature three aspects of the Maitreya worship spread among the local folks in the period. Each of the statues is in a peaked cap and official's robe and characterized by bulging eyes comparable to those of the Buddhist guardian deities such as the Vajra guardian who were designed to protect a sacred area against evil forces. The Maitreya statues provide valuable sources of knowledge about the types of Maitreya adopted by the worshippers of local folk religion in the Joseon period. The Jabok Mireuk statues in Jeju can be easily compared with the Two Rock-carved Standing Buddhas in Yongmi-ri, Paju (1471), and the two standing stone Buddhas in Daeseongsa Temple in Okcheon (ca 1491) and on the Sipsinsa Temple site in Gwangju in that they all wear peaked caps in the "treasure canopy" style which gained popularity during the early Joseon period. One may conclude then that these statues are related with the Neo-Confucian elites who wanted the Joseon dynasty they established to prosper under the auspices of the Buddha of the Future. Interestingly, the enshrinement of the stone Buddha of Daeseongsa Temple is presumed to have been participated by Yuk Han who had served as the Governor (Moksa) of Jeju, suggesting its connection with the Jabok Mireuk despite the regional difference in their style.

• Journal of the Korean Institute of Landscape Architecture
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• v.47 no.1
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• pp.26-38
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• 2019

This study is based on the analysis of the characteristics of waterfront scenery. Recently, waterfront development has expanded residentially, commercially and into leisure space. In the development of the waterfront, it is necessary to apply designs suitable for urban and various other waterfront areas. In this study, the natural scenery of the waterfront was researched with respect to the Korean Jingyeong landscape paintings and the main elements of the scenery were analyzed. In this study, 105 painting of Korean Jingyeong landscapes paintings were selected for the analysis of the waterside scenery. The paintings of Jeong Seon were studied to categorize streams topographically into mountainous, upper, middle, lower, and ocean types. In addition, major micro-topography elements, which are 13 water image elements and 13 staffage elements were analyzed. The main waterfront landscape elements are divided into 13 types. The waterfalls were divided into long waterfalls, short waterfalls, cascading waterfalls, and other aspects considered were line stream, curve stream, multi-curve stream, pond, water surface, flow surface, wave surface, rock side, pile sandy side, sandy side. There are 13 kinds of staffage elements, include pine forest, pine trees, fir trees, bamboo trees, willow trees, broadleaf tree, villages, houses, gazebo, boat, bridges, and people. The waterfront landscape by a river area was explained according to each characteristic of the waterfront landscape and staffage, and their changes were analyzed in each area. The 105 paintings were divided into 35 pieces of mountainous streams, 9 upper streams, 5 middle streams, 35 lower streams, and 21 oceans, and the change of each waterfront landscape and staffage was analyzed. Based on the topographical analysis of the waterfront landscape and staffage, the results can be summarized into 5 types of the waterfront landscape. Based on the micro-topographical characteristics of the waterfront landscape styles are as follow. In the mountainous streams, long waterfall and deep forest type are apparent, which depicts deep mountain waterfall scenery, and a multi-stream forest is the scenery of a picnic in the mountains, which is a representative form of mountainous streams landscape. In the upper-middle stream, the water-surface and gazebo type is predominant. In the lower stream, the sandy-gazebo typ scenery is predominant and the sandy depiction is unique to lower stream landscape. Pile sandy-dock type is life scenes where human activity highlighted, is a representative form of the lower stream landscapes. The characteristic of the coastal landscape is the serpentine rock scenery on the beach and the wave-serpentine rock type that forms the main coastal landscape. The study aims to propose significant design elements for a natural waterfront landscape planning based on the analysis of landscape in the paintings of Jeong Seon.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.3
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• pp.84-94
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• 2015

This study is to examine how the admiration for Chutzu(朱子)'s achievement while he was preaching his policies after renouncing the world in Wuyi-Gugok(武夷九曲), Mt. Wuyi and Joseon-style transformation culture were unfolded and developed through Gugok management cases such as position, name, poetic diction, Jungsa(精舍) architecture and engraving of Muyi-Gugok set in Mt. Gugok, Snacheong. The results were as follows: Myungam(明庵) Jeong Sik(鄭拭, 1683~1746)'s Muyi-Gugok, which consists of Suhongkyo(垂虹橋, gok 1) - Oknyeobong(玉女峰) - Nhongwhaldam(弄月潭) - Nacwhadam(落花潭) - Daeeunbyeong(大隱屛) - Gwangpyungryea(光風瀨) - Jaewhaldae(霽月臺) - Gorooam(鼓樓巖) - Wharyongpok(臥龍瀑, gok 9) is the representative case where Chutzu's Wuyi-Gugok was exactly copied and fulfilled to the Joseon Dynasty. In a large frame, Gugok Wonlim culture, Myungam's Muyi-Gugok management has a will of succession of Dotong(道統) through admiration for Chutzu in a rigid way. Another name of Mt. Gugok is Mt. Muyi and Gugok's name is Muyi-Gugok and the residence existed between gok 4 and gok 5. In addition, the name of Jeongsa for Gugok management is also 'Muyi Jeongsa(武夷精舍)' and Gugok name and contents of Poetry are also similar and all of these are clear evidence that Myungam tries to copy Chutzu's Wuyi-Gugok to Mt. Gugok. Also, Gugok set before Myungam were located in Mt. Gugok and among them, verified four Gugok names are corresponded to those of Chutzu's Wuyi-Gugok and it tells that conforming behavior as one of admiration ways for Chutzu already arrived at Mt. Gugok before Myungam and this was an oppotunty to widen Mt. Gugok Muyi-Gugok's tradition and horizon. Also, considering that Myungam's gok 6, Gwangpyungryea and gok 7, Jewoldae are names from 'Gwangpungjewol(光風霽月)' Based on Chutzu's poem and they are closely related to Joseon's classical scholar spirit, they are associated with Joseon-style transformation of Chutzu's Muyi-Gugok. Meanwhile, gok 5 'Daeeunbyeong' was transformed to 'Nangaam(爛柯巖)' in gok 5 - "Deoksan-Gugok(德山九曲) of Jooko(竹塢) Ha Beom-Woon(河範運, 1792~1858) and those characters's engravings are handed down. In "Pome of Deoksan Gugok" transformed from Myungam's Muyi-Gugok, respect and admiration for Chutzu is weaken while Ha Beom-Woon admires Nammyeong(南冥) Cho shik(曺植, 1501~1572), a symbolic character of himself's school and from this, a movement to promote partisan unity is identified. After Myungam died, Muyi-Gugok in Mt. Gugok was transformed from a space to succeed Chutzu's Dotonga to one to commemorate the memory of ancient sages, but, it is a typicality case that widen the spectrum of Joseon's Gugok-Wonlim culture through Muyi-Gugok's imitation and transformation.