• Korean Journal of Cognitive Science
• /
• v.15 no.2
• /
• pp.1-15
• /
• 2004

The structure of sensibility from motion was developed for the purpose of understanding relationship between sensibilities and physical factors to apply it to dynamic visual display. Seventy adjectives were collected by assessing adequacy to express sensibilities from motion and reporting sensibilities recalled from dynamic displays with achromatic color. Various motion displays with a moving single dot were rated according to the degree of sensibility corresponding to each adjective, on the basis of the Semantic Differential (SD) method. The results of assessment were analyzed by means of the factor analysis to reduce 70 words into 19 fundamental sensibilities from motion. The Multidimensional Scaling (MDS) technique constructed the sensibility space in motion, in which 19 sensibilities were scattered with two dimensions, active-passive and bright-dark Motion types systemically varied in kinematic factors were placed on the two-dimensional space of motion sensibility, in order to analyze important variables affecting sensibility from motion. Patterns of placement indicate that speed and both of cycle and amplitude in trajectories tend to partially determine sensibility. Although color and motion affected sensibility according to the in dimensions, it seemed that combination of motion and color made each have dominant effect individually in a certain sensibility dimension, motion to active-passive and color to bright-dark.

• Journal of Korean Society of Forest Science
• /
• v.80 no.1
• /
• pp.32-41
• /
• 1991

This study is focusted to the national park of Korean typical mountain Chi-ri, its visual resources of forests, and practiced inspectind course by way of hypothesis and tests, to show visual resource management objectively, and that of quantitative basic data. spatial image structure measured by Semantic Differential(S.D.) Scale was shown through factor analysis algorithm for the analyzing psychological amount and examined the flowing out of decisive factor and the objective importance related mutual factors by appling the measurement of visual quality. Also, it has been investigated the differences between the degrees of expectation which is used before and of satisfaction which is used, by appling instrumental expectation theory. And showed patterns of investigation area through factor analyzing algorithm. As a national Park, visual factors that have natural landscape harmonized forest, sky, surface of the water, curious stones and rocks, temples should be escalate their values affirmatively so as to be the scenery of pointed direction and enjoyable, and it is needs the techniques visual resource management and its controlling technique to make artificial structures more intentional planning and systemical setting. Manmade distinctive quality in the spatials that affect complementally or harmonizingly, should be received considering relations between the distifution and joining which in line with various visual presenting massive factors. More than that, it is needed united basic standard to the beauty of arrangements which contain visual continuity considered balance between nature and human work, simplicity of structural types, assimilation, emphasis, unification of different factors and pro rata.

• Korean Journal of Heritage: History & Science
• /
• v.47 no.2
• /
• pp.86-113
• /
• 2014

This study has researched the characteristics and elements of Chwibyeong (翠屛), a sort of trellis in the Joseon Dynasty through the old documents, and the original form of Chwibyeong at Juhapru (宙合樓) in Changdeuk Palace. The results were as follow. First, as the result of literatures analysis for Imwon-gyeongje-ji (林園經濟志) and Jeungbo-sallim-gyeongje (增補山林經濟), the plant screen was classified as kinds of support[frame] material, plants and methods of planting. It was found that the supports of Chwibyeong were made of bamboo or the material such as the Jinjangmok (眞長木: a stick of oak) and Giryu (杞柳: Salix purpurea var. japonica). The evergreen coniferous trees including Pinus densiflora, Taxus cuspidata and Thuja orientalis were mainly used for the plant material of Chwibyeong. The general planting method of Chwibyeong was to plant on the ground, but sometimes the container planting was also found on the artificial ground. Second, the term of 'Chwibyeong' in the literatures was used in only the screen made by evergreen trees, and the superordinate category term of it was indicated by 'byeong (屛)'. Therefore Chwibyeong was a compound word formed from 'chwi (翠)' which means the characteristics of evergreen and 'byeong' as tree screen which the support was made by bamboo. And Chwibyeong had semantic context which was combined with the literary symbolization to describe a landscape of green peak and Taoist ideology be inherent from 'twelve peaks of Musan[巫山十二峰]' in Sichuan sheng (四川省). Thirdly, the photograph of Chwibyeong at Juhapru taken by the 1880s, showed that Chwibyeong was made with coniferous trees and was almost 2 meters high. The Chwibyeong at Juhapru was removed during the Japanese colonial era, but a few yew trees(Taxus cuspidata) used for Chwibyeong are still remaining. And some Juniperus chinensis which the composition time is unclear, were cultivated while hung loose its branchs at the sides of Eosumun (魚水門). This Junipers were presumed to be planted by Japanese after Japanese annexation of Korea(1910), and it was judged that both of the roofs of Eosumun's side gates might have been transformed into Japanese style at the same time. Lastly, Chwibyeong at Juhapru was restored in 2008 but it was restored in wrong way from original form without precise research. Especially Chwibyeong was restored with Sasa boreralis which is damaged by frost, so it requires exertion that should revive the originals to plant original material as much as possible. And it needs the development of fabrication technique for Chwibyeong and the application to current landscape architecture.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.47 no.4
• /
• pp.33-49
• /
• 2019

The purpose of this study was to investigate the changes in the experiences of visitors of Yeonnam-dong during the period covering the development of a linear park, the Gyeongui Line Park. This study used a text mining technique to analyze Naver Blog postings of those who visited Yeonnam-dong from June 2013 to May 2017, divided into four periods -from June 2013 to May 2014, from June 2014 to May 2015, from June 2015 to May 2016 and from June 2016 to May 2017. The keywords used were 'Yeonnam-dong', 'Gyeongui Line' and 'Yeontral Park' and the data was further refined and resampled. A semantic network analysis was conducted on the basis of the co-occurrences of words. The results of the study were as follows. During the entire period, the main experience of visitors to Yeonnam-dong was 'food culture' consistently, but the activities related to 'market', 'browsing', and 'buy' increased. Also, activities such as 'walk', 'play' and 'rest' in the park newly appeared after the construction of the park. Moreover, more diverse opinions about the Yeonnam-dong were expressed on the blog, and Yeonnam-dong began to be recognized as a place where a variety of activities can be enjoyed. Lastly, when the visitors wrote about the theme 'food culture', the scope of the keywords expanded from simple ones, such as 'eat', 'photograph' and 'chatting' to 'market', 'browsing', and 'walk'. The sub-themes that appeared with the park also expanded to various topics with the emergence of the Gyeongui Line Book Street. This study analyzed the change of experiences of visitors objectively with text mining, a quantitative methodology. Due to the nature of text mining, however, the subjective opinions inevitably have been involved in the process of refining. Also, further research is required to assess the direct relationship between these changes and park construction.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.29 no.4
• /
• pp.14-26
• /
• 2011

Imdaejeong Wonlim is located on the verge of Sangsa Village in Sapyeong-ri, Daepyeong-myeon, Hwasun-gun Gyeongsangnam-do toward Northwest. It was planned by Sa-ae, Minjuhyeon in 1862 on the basis of Gobanwon built by Nam Eongi in 16th century against the backdrop of Mt. Bongjeong and facing Sapyeong Stream. As water flows from west to east in the shape of crane, this area is a propitious site standing for prosperity and happiness. This area shows a distinct feature of Wonlim surrounding the Imdaejeong with multi layers as consisting of 5 districts - front yard where landmark stone with engraved letters of 'Janggujiso of Master Sa-ea' and junipers are harmoniously arranged, internal garden of upper pavilion ranging from a pavilion to square pond with a little island in the middle, Sugyeongwon of under pavilionu consisting of 2 ponds with a painting of three taoist hermits, forest of Mt. Bonggeong and external garden including Sapyeong Stream and farmland. According to documentation and the results of on-site investigation, it is certainly proved that Imdaejeong Wonlim was motivated by Byeoseo Wonlim which realized the idea of 'going back to hometown after resignation' following the motives of Janggujiso, a hideout aimed to accomplish the ideology, 'training mind and fostering innate nature,' on the peaceful site surrounded by water and mountain, as well as motives of Sesimcheo(洗心處) to be unified with morality of Mother Nature, etc. In addition, it implies various imaginary landscapes such as Pihangji, Eupcheongdang, square pond with an island and painting of three Taoist hermits based on a notion that 'the further scent flies away, the fresher it becomes,' which is originated from Aelyeonseol(愛蓮說). In terms of technique of natural landscape treatment, divers techniques are found in Imdaejeong Wonlim such as distant view of Mt. Bongjeong, pulling view with an intention of transparent beauty of moonlight, circle view of natural and cultural sceneries on every side, borrowed scenary of pastoral rural life adopted as an opposite view, looked view of Sulyundaero, over looked view of pond, static view in pavilion and paths, close view of water space such as stream and pond, mushroom-and-umbrella like view of Imdaejeong, vista of pond surrounded by willows, imaginary view of engraved letters meaning 'widen knowledge by studying objectives' and selected view to comprise sunrise and sunset at the same time. In the beginning of construction, various plants seemed to be planted, albeit different from now, such as Ginkgo biloba, Phyllostachys spp., Salix spp., Pinus densiflora, Abies holophylla, Morus bombycis, Juglans mandschurica, Paulownia coreana, Prunus mume, Nelumbo nucifera, etc. Generally, it reflected dignity of Confucianism or beared aspect of semantic landscape implying Taoist taste and idea of Phoenix wishing a prosperity in the future. Furthermore, a diversity of planting methods were pursued for such as liner planting for the periphery of pond, bosquet planting and circle planting adopted around the pavilion, spot planting using green trees, solitary planting of monumentally planted Paulownia coreana and opposite planting presenting the Abies holophylla into yin and yang.