• Smart Structures and Systems
• /
• v.30 no.5
• /
• pp.521-535
• /
• 2022

Efficient management of deteriorating civil infrastructure is one of the most important research topics in many developed countries. In particular, the remote displacement measurement of bridges using linear variable differential transformers, global positioning systems, laser Doppler vibrometers, and computer vision technologies has been attempted extensively. This paper proposes a remote displacement measurement system using closed-circuit televisions (CCTVs) and a computer-vision-based method for in-situ bridge bearings having relatively large displacement due to temperature change in long term. The hardware of the system is composed of a reference target for displacement measurement, a CCTV to capture target images, a gateway to transmit images via a mobile network, and a central server to store and process transmitted images. The usage of CCTV capable of night vision capture and wireless data communication enable long-term 24-hour monitoring on wide range of bridge area. The computer vision algorithm to estimate displacement from the images involves image preprocessing for enhancing the circular features of the target, circular Hough transformation for detecting circles on the target in the whole field-of-view (FOV), and homography transformation for converting the movement of the target in the images into an actual expansion displacement. The simple target design and robust circle detection algorithm help to measure displacement using target images where the targets are far apart from each other. The proposed system is installed at the Tancheon Overpass located in Seoul, and field experiments are performed to evaluate the accuracy of circle detection and displacement measurements. The circle detection accuracy is evaluated using 28,542 images captured from 71 CCTVs installed at the testbed, and only 48 images (0.168%) fail to detect the circles on the target because of subpar imaging conditions. The accuracy of displacement measurement is evaluated using images captured for 17 days from three CCTVs; the average and root-mean-square errors are 0.10 and 0.131 mm, respectively, compared with a similar displacement measurement. The long-term operation of the system, as evaluated using 8-month data, shows high accuracy and stability of the proposed system.

• Journal of Korean Society of Forest Science
• /
• v.112 no.4
• /
• pp.530-543
• /
• 2023

Societal value of the benefits forests provide has grown significantly, given their pivotal role in mitigating climate change and fostering the shift toward a carbon-neutral society. Due to the economic and public value of forests, which extends far beyond landowners and foresters, the forestry sector mutually interacts with society as a whole. Thus, understanding public perceptions and preferences concerning forests and forest policies from the societal viewpoint is vital for shaping future forest policy decisions. This research delved into evolving perceptions over the past 32 years, using a time-series analysis of data gathered from the 'Public awareness survey on forests'. This survey, conducted seven times between 1991 and 2023 by opinion poll agents, provides insights into changing sentiments. The findings reveal a notable increase in public satisfaction with overall forest policies. Specifically, positive sentiments were observed regarding forest rehabilitation, forest trails, education initiatives, and the establishment and functioning of forest recreation facilities. Conversely, the study highlights areas where public satisfaction remained relatively low, notably in matters concerning the use and conversion of mountainous regions, forest disaster prevention, and international forest cooperation. Additionally, the respondents emphasized the need for heightened attention to forest management, the development of forest roads, and increased efforts in overseas afforestation compared to current initiatives.

• Journal of the Korean Association of Geographic Information Studies
• /
• v.26 no.4
• /
• pp.145-160
• /
• 2023

The purpose of this study was to compare and analyze diurnal thermal environments using Unmanned Aerial Vehicles(UAV)-derived physical parameters(NDVI, SVF) and ENVI-met modeling. The research findings revealed significant correlations, with a significance level of 1%, between UAV-derived NDVI, SVF, and thermal environment elements such as S↑, S↓, L↓, L↑, Land Surface Temperature(LST), and Tmrt. In particular, NDVI showed a strong negative correlation with S↑, reaching a minimum of -0.52^** at 12:00, and exhibited a positive correlation of 0.53^** or higher with L↓ at all times. A significant negative correlation of -0.61^** with LST was observed at 13:00, suggesting the high relevance of NDVI to long-wavelength radiation. Regarding SVF, the results showed a strong relationship with long-wave radiative flux, depending on the SVF range. These research findings offer an integrated approach to evaluating thermal comfort and microclimates in urban areas. Furthermore, they can be applied to understand the impact of urban design and landscape characteristics on pedestrian thermal comfort.

• Journal of Ginseng Culture
• /
• v.6
• /
• pp.105-115
• /
• 2024

Wild ginseng, grown in undisturbed forest environments, has been maintained for centuriesthrough human intervention and knowledge, leading to the development of current ginseng agriculture. The practice of ginseng farming has long been established in various regions of Korea. However, the ginseng farming specifically in Geumsan was recognized as a Globally Important Agricultural Heritage System (GIAHS) by the Food and Agriculture Organization of the United Nations (FAO) in 2018. This designation was granted after a thorough evaluation, which confirmed that Geumsan's ginseng farming met the necessary criteria, including historical importance, traditional knowledge system, agrobiodiversity, and agricultural landscape. Traditional ginseng farming in Geumsan practices the 'rotating agriculture system', a sustainable land use approach that has been developed over several cycles of long duration (10-15 years). It contains the knowledge to choose locations for cultivation that prioritize the direction of sunlight and wind circulation. Furthermore, it received significant recognition for its agricultural heritage value based on its maintenance of several traditional knowledge systems, including ancestral wisdom and knowledge regarding pre-planting field management techniques. As of December 2023, there are currently 86 locations in 26 nations that have been designated as GIAHS. Among these sites, Geumsan stands out as the first and only site in the world specifically recognized for the cultivation of ginseng crops. This historical record serves as a significant reminder of Korea's prominent position as a major producer of ginseng on a global level. This article first provides an overview of the concept of agricultural heritage, the designation criteria, and the status of the designation. It then identifies, among the GIAHS designation criteria, the agricultural heritage value of traditional ginseng farming in the Geumsan region from the perspective of local traditional knowledge systems.

• Korean Journal of Ecology and Environment
• /
• v.57 no.2
• /
• pp.75-82
• /
• 2024

This study examined the spatial morphological patterns of forest habitats and the characteristics of roadkill occurrences in the forests of Mungyeong, Yecheon, Yeongju, Andong, and Bonghwa in Gyeongsangbukdo. It involved building a resistance map between habitats and analyzing connectivity based on the least-cost distance. The analysis of the distance between the forest habitat Cores derived from MSPA and roadkill points showed that roadkill occurrences were concentrated approximately 74.11 m away from the Cores, with most roadkills happening within 360m from the habitats. The connectivity analysis between core habitats larger than 1 km² revealed 141 core habitats and 242 least-cost paths between them. The corridor distance value was found to be highest in Mungyeong city, indicating an urgent need for strategies to enhance habitat connectivity there. This research is expected to serve as foundational data for developing strategies to enhance ecosystem connectivity and restore habitats, by analyzing ecosystem connectivity and roadkill issues due to habitat fragmentation.

• Journal of architectural history
• /
• v.20 no.4
• /
• pp.61-80
• /
• 2011

This study estimated the prototype of Yangjindang at the time of its foundation by putting together the literature and discovered data and historical research on family related to Sangju Yangjindang, and looked at its architectural characteristics. These are summarized as follows: First, Yangjindang is an office building which was completed in three years [1629] after its start of construction when Keomgan Jojeong was at the age of 72 [1626] in his latter days and it was used for performing ancestral rites for Jojeong's forefathers of the head family of Pungyang Jo by family origin. Yangjindang was founded as a base of utopia for putting ancestral rites & commemoration, harmoniousness of a tribe, and educational idea into practice together with Ojakdang. Such a movement can be judged to interpret and apply the circumstances of the times realistically and flexibly where they tried to pursue the promotion of Confucianism & studies of the proprieties as well as the consciousness of practice, and to bring a tribe into harmony after the war through the retirement of Toegye School. Second, it is located at a topographically ideal spot on the edge of the Jangcheon-a tributary of Nakdong with a good physiology and landscape and its location was also the lot for a house of Jojeong's ancestor, which was burned down by war. Behind such a location and planning of Yangjindang, it is presumed, though not certain that it was modelled after Naeap village at Andong- Jojeong's parents-in-low's home. Third, as for its foundation size, it's a head house as much as about more than 100-kan, and its structure is composed of Samyo, Bonche, and Yangjindang. In addition, arrangements of buildings and its composition system and renovation procedures followed Chu-tzu Garyoe. Composition of Samyo can be restored to Yangjindang, Jugo, Woesammun, and Samyo; however, there has been no case of existence in case of Jugo building composition & arrangement takes on an aspect of a compromise between Gamyojido and Sandangjido of Garoe, which seems to be the result from flexibly interpreting and applying the rituals and studies of the proprieties of Toegye School in keeping with locational topography and realistic circumstances while making it a principle for them to observe by Toegye School. There exists a difference between Bonche and its counterpart of the upper class housing at Sangju district in that Bonche[main building] is a squre-shaped 'Ttuljip' typical of Andong setting a family ancestral ritual as a main function. Fourth, there existed a lot of hardships in raising money to cover repairs in time of doing repairs to this structure after 180 years since its establishment. In case of the repair work on Bonche, the level of renovation was limited to the replacement of old materials for rafters, doorpost, roof members and railings with new materials, together with partial alterations in case of window system. It is estimated that Yangjindang was renovated in 1808, and afterwards it was renamed Okryujeong after being re-built at another site. Through the repairs, the floor was expanded for the clan's meeting, and angle rafters and roof members were mended as well. Especially, the plane and structure of Okryujeong which was re-built at another site are expected to give clues to its restoration due to the resemblance to original appearance of Yangjindang at the time of its renovation in 1808.

• Korean Journal of Environment and Ecology
• /
• v.29 no.4
• /
• pp.570-579
• /
• 2015

Lindera sericea, which belongs to genus Lindera in the Lauraceae family, is labeled under Least Concerned (LC) among Korean rare plants, floristics specific species IV grade and also flagpole species of the Mudeung National Park. It is distributed in Mt. Mudeung, Mt. Cheonbong and Mt. Chogye within gradients from $12^{\circ}$ to $51^{\circ}$. The slope area is from northeast to northwest sides and the altitude range of distribution site is between 220 m and 533 m. The vascular plants in the quadrate where Lindera sericea were studied were identified as a total of 72 taxa; 37 families, 54 genera, 66 species, 5 variants and 1 forma. Among the floristics specific species, IV grade species was Lindera sericea and III grade species were Stewartia pseudocamellia and Acer palmatum. Korean endemic species were Stewartia pseudocamellia and Carex okamotoi. As for the vegetation group, Quercus mongolica and Q. serratak - Lindera sericea, Styrax japonicus populations were found in Mt. Mudeung area where Lindera sericea appeared, Stewartia pseudocamellia-Lindera sericea and Sasa borealis populations were found in Mt. Cheonbong areas, Carpinus laxiflora - Lindera sericea and Sasa borealis populations were found in Mt. Chogye area, and Stewartia pseudocamellia-Lindera sericea and Sasa borealis populations were found in Songgwangsa area. A total number of 662 Lindera sericea individuals were examined. The number of trees with 1 trunk including younger individuals was 353 (53.32%), and the number of trees with 2 to 5 stems was 270 (40.79%). The number of trees with the greatest number of sprouts was 27. Of 662 trees in total, the total number of sprouts was 1,198. Among these, 699 trees (58.34%) were between 50 cm and 150 cm in height. The tallest tree was 585 cm. The most common root-collar diameter of sprouts (992, 82.81%) was under 1 cm, followed by the sprouts with collar diameter from 1.0 to 1.5 cm(156, 13.2%). Among them, the largest root-collar diameter was 3.2 cm. This Lindera sericea specimen had the tallest trunk (565 cm) which was torn lengthwise on one side. Its root and breast parts were decayed by 50% and 25 respectively. Some branches of the three trunks that were more than 4 m in length were dead in the apical portion. Therefore, it is proposed that the Korean Lindera sericea maintains an apical dominance tree type while showing morphological adaptation as a typical shrub because it autonomously decays some branches and trunks over a certain height while increasing the number of its sprouts.

• Journal of the Korean Society of Environmental Restoration Technology
• /
• v.17 no.1
• /
• pp.123-134
• /
• 2014

Identification of methods to optimize the growth of a plant community, including the capacity of the soil to further sequester carbon, is important in urban design and planning. In this study, to construct and manage an urban park to mitigate carbon emissions, soil organic carbon of varying biomass, different park construction times, and a range of vegetation types were analyzed by measuring aboveground and belowground carbon in Seoseoul Lake Park and Yangjae Citizen's Forest. The urban parks were constructed during different periods; Seoseoul Lake Park was constructed in 2009, whereas Yangjae Citizen's Forest was constructed in 1986. To identify the differences in soil organic carbon in various plant communities and soil types, above and belowground carbon were measured based on biomass, as well as the physical and chemical features of the soil. Allometric equations were used to measure biomass. Soil total organic carbon (TOC) and chemical properties such as pH, cation exchange capacity (CEC), total nitrogen (TN), and soil microbes were analyzed. The analysis results show that the biomass of the Yangjae Citizen's Forest was higher than that of the Seoseoul Lake Park, indicating that older park has higher biomass. On the other hand, TOC was lower in the Yangjae Citizen's Forest than in the Seoseoul Lake Park; air pollution and acid rain probably changed the acidity of the soil in the Yangjae Citizen's Forest. Furthermore, TOC was higher in mono-layered plantation area compared to that in multi-layered plantation area. Improving the soil texture would, in the long term, result in better vegetation growth. To improve the soil texture of an urban park, park management, including pH control by using lime fertilization, soil compaction control, and leaving litter for soil nutrition is necessary.

• MISULJARYO - National Museum of Korea Art Journal
• /
• v.96
• /
• pp.123-154
• /
• 2019

Ancestral Burial Ground on the Inwangsan Mountain is a ten-panel folding screen with images and postscripts. Commissioned by Bak Gyeong-bin (dates unknown), this screen was painted by Jo Jung-muk (1820-after 1894) in 1868. The postscripts were written by Hong Seon-ju (dates unknown). The National Museum of Korea restored this painting, which had been housed in the museum on separate sheets, to its original folding screen format. The museum also opened the screen to the public for the first time at the special exhibition Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea held from July 23 to September 22, 2019. Ancestral Burial Ground on the Inwangsan Mountain depicts real scenery on the western slopes of Inwangsan Mountain spanning present-day Hongje-dong and Hongeun-dong in Seodaemun-gu, Seoul. In the distance, the Bukhansan Mountain ridges are illustrated. The painting also bears place names, including Inwangsan Mountain, Chumohyeon Hill, Hongjewon Inn, Samgaksan Mountain, Daenammun Gate, and Mireukdang Hall. The names and depictions of these places show similarities to those found on late Joseon maps. Jo Jung-muk is thought to have studied the geographical information marked on maps so as to illustrate a broad landscape in this painting. Field trips to the real scenery depicted in the painting have revealed that Jo exaggerated or omitted natural features and blended and arranged them into a row for the purposes of the horizontal picture plane. Jo Jung-muk was a painter proficient at drawing conventional landscapes in the style of the Southern School of Chinese painting. Details in Ancestral Burial Ground on the Inwangsan Mountain reflect the painting style of the School of Four Wangs. Jo also applied a more decorative style to some areas. The nineteenth-century court painters of the Dohwaseo(Royal Bureau of Painting), including Jo, employed such decorative painting styles by drawing houses based on painting manuals, applying dots formed like sprinkled black pepper to depict mounds of earth and illustrating flowers by dotted thick pigment. Moreover, Ancestral Burial Ground on the Inwangsan Mountain shows the individualistic style of Jeong Seon(1676~1759) in the rocks drawn with sweeping brushstrokes in dark ink, the massiveness of the mountain terrain, and the pine trees simply depicted using horizontal brushstrokes. Jo Jung-muk is presumed to have borrowed the authority and styles of Jeong Seon, who was well-known for his real scenery landscapes of Inwangsan Mountain. Nonetheless, the painting lacks an spontaneous sense of space and fails in conveying an impression of actual sites. Additionally, the excessively grand screen does not allow Jo Jung-muk to fully express his own style. In Ancestral Burial Ground on the Inwangsan Mountain, the texts of the postscripts nicely correspond to the images depicted. Their contents can be divided into six parts: (1) the occupant of the tomb and the reason for its relocation; (2) the location and geomancy of the tomb; (3) memorial services held at the tomb and mysterious responses received during the memorial services; (4) cooperation among villagers to manage the tomb; (5) the filial piety of Bak Gyeong-bin, who commissioned the painting and guarded the tomb; and (6) significance of the postscripts. The second part in particular is faithfully depicted in the painting since it can easily be visualized. According to the fifth part revealing the motive for the production of the painting, the commissioner Bak Gyeongbin was satisfied with the painting, stating that "it appears impeccable and is just as if the tomb were newly built." The composition of the natural features in a row as if explaining each one lacks painterly beauty, but it does succeed in providing information on the geomantic topography of the gravesite. A fair number of the existing depictions of gravesites are woodblock prints of family gravesites produced after the eighteenth century. Most of these are included in genealogical records and anthologies. According to sixteenth- and seventeenth-century historical records, hanging scrolls of family gravesites served as objects of worship. Bowing in front of these paintings was considered a substitute ritual when descendants could not physically be present to maintain their parents' or other ancestors' tombs. Han Hyo-won (1468-1534) and Jo Sil-gul (1591-1658) commissioned the production of family burial ground paintings and asked distinguished figures of the time to write a preface for the paintings, thus showing off their filial piety. Such examples are considered precedents for Ancestral Burial Ground on the Inwangsan Mountain. Hermitage of the Recluse Seokjeong in a private collection and Old Villa in Hwagae County at the National Museum of Korea are not paintings of family gravesites. However, they serve as references for seventeenth-century paintings depicting family gravesites in that they are hanging scrolls in the style of the paintings of literary gatherings and they illustrate geomancy. As an object of worship, Ancestral Burial Ground on the Inwangsan Mountain recalls a portrait. As indicated in the postscripts, the painting made Bak Gyeong-bin "feel like hearing his father's cough and seeing his attitudes and behaviors with my eyes." The fable of Xu Xiaosu, who gazed at the portrait of his father day and night, is reflected in this gravesite painting evoking a deceased parent. It is still unclear why Bak Gyeong-bin commissioned Ancestral Burial Ground on the Inwangsan Mountain to be produced as a real scenery landscape in the folding screen format rather than a hanging scroll or woodblock print, the conventional formats for a family gravesite paintings. In the nineteenth century, commoners came to produce numerous folding screens for use during the four rites of coming of age, marriage, burial, and ancestral rituals. However, they did not always use the screens in accordance with the nature of these rites. In the Ancestral Burial Ground on the Inwangsan Mountain, the real scenery landscape appears to have been emphasized more than the image of the gravesite in order to allow the screen to be applied during different rituals or for use to decorate space. The burial mound, which should be the essence of Ancestral Burial Ground on the Inwangsan Mountain, might have been obscured in order to hide its violation of the prohibition on the construction of tombs on the four mountains around the capital. At the western foot of Inwangsan Mountain, which was illustrated in this painting, the construction of tombs was forbidden. In 1832, a tomb discovered illegally built on the forbidden area was immediately dug up and the related people were severely punished. This indicates that the prohibition was effective until the mid-nineteenth century. The postscripts on the Ancestral Burial Ground on the Inwangsan Mountain document in detail Bak Gyeong-bin's efforts to obtain the land as a burial site. The help and connivance of villagers were necessary to use the burial site, probably because constructing tombs within the prohibited area was a burden on the family and villagers. Seokpajeong Pavilion by Yi Han-cheol (1808~1880), currently housed at the Los Angeles County Museum of Art, is another real scenery landscape in the format of a folding screen that is contemporaneous and comparable with Ancestral Burial Ground on the Inwangsan Mountain. In 1861 when Seokpajeong Pavilion was created, both Yi Han-cheol and Jo Jung-muk participated in the production of a portrait of King Cheoljong. Thus, it is highly probable that Jo Jung-muk may have observed the painting process of Yi's Seokpajeong Pavilion. A few years later, when Jo Jungmuk was commissioned to produce Ancestral Burial Ground on the Inwangsan Mountain, his experience with the impressive real scenery landscape of the Seokpajeong Pavilion screen could have been reflected in his work. The difference in the painting style between these two paintings is presumed to be a result of the tastes and purposes of the commissioners. Since Ancestral Burial Ground on the Inwangsan Mountain contains the multilayered structure of a real scenery landscape and family gravesite, it seems to have been perceived in myriad different ways depending on the viewer's level of knowledge, closeness to the commissioner, or viewing time. In the postscripts to the painting, the name and nickname of the tomb occupant as well as the place of his surname are not recorded. He is simply referred to as "Mister Bak." Biographical information about the commissioner Bak Gyeong-bin is also unavailable. However, given that his family did not enter government service, he is thought to have been a person of low standing who could not become a member of the ruling elite despite financial wherewithal. Moreover, it is hard to perceive Hong Seon-ju, who wrote the postscripts, as a member of the nobility. He might have been a low-level administrative official who belonged to the Gyeongajeon, as documented in the Seungjeongwon ilgi (Daily Records of Royal Secretariat of the Joseon Dynasty). Bak Gyeong-bin is presumed to have moved the tomb of his father to a propitious site and commissioned Ancestral Burial Ground on the Inwangsan Mountain to stress his filial piety, a conservative value, out of his desire to enter the upper class. However, Ancestral Burial Ground on the Inwangsan Mountain failed to live up to its original purpose and ended up as a contradictory image due to its multiple applications and the concern over the exposure of the violation of the prohibition on the construction of tombs on the prohibited area. Forty-seven years after its production, this screen became a part of the collection at the Royal Yi Household Museum with each panel being separated. This suggests that Bak Gyeong-bin's dream of bringing fortune and raising his family's social status by selecting a propitious gravesite did not come true.

• Korean Journal of Heritage: History & Science
• /
• v.55 no.3
• /
• pp.74-100
• /
• 2022

The purpose of this study was to investigate the characteristics of Chinese seowons and to obtain data based on the characteristics of waterscapes unique to Korean seowons. The conclusion of this study from the results of investigation and analysis of the location, water system, and design characteristics of 10 representative traditional seowons in China including Yuelu Seowon(嶽麓書院) conducted based on literature research and field observation is as follows. The water system of Chinese seowons is dualized into an inner and an outer water system, and in general, two and a maximum of three water bodies are superimposed on the outside. The locations of seowons are classified into five types: Four double-sided round water type sites, three converted face water type sites, one three-sided round water type site, a four-sided round water type, and a waterproofing type(依山傍水型). Therefore, compared to the typical Korean seowon facing water in the front and a mountain in the back(背山面水型), the Chinese seowons showed a highly hydrophilic property. The water shapes of the external water system were meandering(46.0%), mooring(36.0%), and broad and irregular(9.0%). In addition, water conception(水態) were streams(31.8%), rivers(27.3%), springs(13.6%), falls(9.1%), lakes(4.5%) and ponds(4.5%), in that order. As for waterscapes of the water system inside the seowon, there were seven in Akrok Seowon and four in Mansong Seowon, indicating a comparatively higher number of waterscapes. Since the 27 detailed waterscapes in 10 seowons that were the subject of the study were classified into six types including ponds and half-moon ponds, they appeared to be more diverse than the Korean seowon. It is noteworthy that in the interior waterscape of the traditional Chinese seowon, the ritualistic order, where at least one half-moon pond or square pond(方池) was arranged, is well displayed. In particular, the half-moon pond(伴池), which is difficult to find in Korean seowon, was found to be a representative waterscape element, accounting for 42.8%. If the square pond of Nanxi Seowon based on Zhu Xi's poem 「Gwanseoyugam(觀書有感)」 is also treated as a square-shaped half-moon pond, the proportion of half-moon ponds in the waterscape will be as high as 50%. The pond shapes consisted of 28% square, 24% each for free curve and round shape, 20% for semi-moon shape, and 3.8% for mountain stream type. This seems to differ greatly from the square-shaped Korean seowon. On the other hand, there were a total of 10 types of structures related to the waterscape inside the Chinese seowon: 11(26.8%) pavilion and bridge sites, five gate room sites(牌坊: 16.5%), four gate and tower sites(樓, 1.4%), two Jae sites(齋, 6.2%), and one site each(3.1%) of Heon(軒), Sa(祠), Dae(臺), and Gak(閣). In particular, the pavilions inside seowon were classified into three types: landscape pavilion(景觀亭 27.2%), tombstone pavilion(碑亭, 18.2%), and banquet pavilion(宴集亭, 54.5%). In general, it was confirmed that the half-moon pond with a pedestal bridge, and the pavilion were the major components with a high degree of connection that dominate the waterscape inside the Chinese seowon.