• Journal of Bio-Environment Control
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• v.29 no.2
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• pp.161-170
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• 2020

There is systematic spatial variations in environmental properties due to sensitive reaction to external conditions at plastic greenhouse occupied 99.2% of domestic agricultural facilities. In order to construct 3 dimensional distribution of temperature, relative humidity, CO₂ and illuminance, measurement matrix as 3 by 3 by 5 in direction of width, height and length, respectively, dividing indoor space of greenhouse was designed and tested at experimental site. Linear regression analysis was conducted to evaluate optimal estimation method in terms with horizontal and vertical variations. Even though sole measurement point for temperature and relative humidity could be feasible to assess indoor condition, multiple measurement matrix is inevitably required to improve spatial precision at certain time domain such as period of sunrise and sunset. In case with CO₂, multiple measurement matrix could not successfully improve the spatial predictability during a whole experimental period. In case with illuminance, prediction performance was getting smaller after a time period of sunrise due to systematic interference such as indoor structure. Thus, multiple sensing methodology was proposed in direction of length at higher height than growing bed, which could compensate estimation error in spatial domain. Appropriate measurement matrix could be constructed considering the transition of stability in indoor environmental properties due to external variations. As a result, optimal measurement matrix should be carefully designed considering flexibility of construction relevant with the type of property, indoor structure, the purpose of crop and the period of growth. For an instance, partial cooling and heating system to save a consumption of energy supplement could be successfully accomplished by the deployment of multiple measurement matrix.

• Journal of the Korean Institute of Landscape Architecture
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• v.49 no.3
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• pp.11-28
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• 2021

Due to its size and complex characteristics, it is not often to newly create a large park within an existing urban area. Also, there has been a lack of research on the planting design methodologies for a large park. This study aims to elucidate how ecological ideas can be applied to planting practice from a designer's perspective, and eventually suggest a planting design framework in the actual case, the Central Park in the City of Gwangju. This framework consists of spatial structure of planting area in order to connect and unite the separated green patches, to adapt to the changes of existing vegetation patterns, to maintain the visual continuity of landscape, and to organize the whole open space system. The framework can be provided for the spatial planning and planting design phase in which the landscape designer flexibly uses it with the design intentions as well as with an understanding of the physical, social, and aesthetic characteristics of the site. The significance of this approach is, first that it can maintain ecological and visual consistency of the both existing and introduced landscapes as a whole in spite of its intrinsic complexity and largeness, and second that it can help efficiently respond to the unexpected changes in the landscape. In the case study, comprehensive site analysis is conducted before developing the framework. In particular, wetlands and grasslands have been identified as potential wildlife habitat which critically determines the vegetation patterns of the green area. Accordingly, the lists of plant communities are presented along with the planting scheme for their shape, layout, and relations. The model of the plant community is developed responding to the structure of surrounding natural landscape. However, it is not designed to evolve to a specific plant community, but is rather a conceptual model of ecological potentials. Therefore, the application of the model has great flexibility by using other plant communities as an alternative as long as the characteristics of the communities are appropriate to the physical conditions. Even though this research provides valuable implications for landscape planning and design in the similar circumstances, there are several limitations to be overcome in the further research. First, there needs to be more sufficient field surveys on the wildlife habitats, which would help generate a more concrete planting model. Second, a landscape management plan should be included considering the condition of existing forest, in particular the afforested landscapes. Last, there is a lack of quantitative data for the models of some plant communities.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.2
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• pp.43-57
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• 2013

The purpose of this study is to identify potential semantic landscape makeup of "the Forty Eight Poems of Soswaewon" according to Yin-Yang and Five Elements Principle(陰陽五行論). that speculation system between human's nature and cosmical universal order. Existing academic discussions made so far concerning this topic can be summed up as follows: 1. Among Yin-Yang-based landscape makeups of the Forty Eight Poems of Soswaewon, poetic writings for embodiment of interactions between nature and human behaviors focused on depicting dynamic aspects of a poetic narrator when he appreciates or explores hills and streams as of to live free from worldly cares. Primarily, many of those writings were created on the east and south primarily through assignment of yang. On the other hand, poetic writings for embodiment of nature and seasonal scenery - as static landscape makeup of yin - were often created on or near the north and west for many times. Those writings focusing on embodiment of nature and artificial scenery as a work are divided into two categories: One category refers to author Kim In-hu's expression of semantic landscape from seasonal scenery in nature. The other refers to his depiction of realistic garden images as they are. In the Forty Eight Poems of Soswaewon, the poetic writings show that author Kim focused on embodying seasonal scenery rather than expressing human behaviors. In addition, both Poem No. 1 and Poem No. 48(last poem; titled 'Jangwon Jeyeong') were created in a same place, which author Kim sought to understand the place as a space of beginning and end where yin and yang - i.e. the principle of natural cycle - are inherent. 2. According to construction about landscape in the Forty Eight Poems of Soswaewon on the basis of Ohaeng-ron (five natural element principle), it was found that tree(木) and fire(火) are typical examples of a world combined by emanation. First, many of poetic writings depicting the sentiments of tree focused on embodying seasonal scenery and were located in the place of Ogogmun(五曲門) area in the east, from overall perspective of Soswaewon. The content of these poems shows generation and curve / straightness in flexibility and simplicity. Many of poems depicting the sentiments of fire(火) focused on embodying human behaviors, and they were created in Aeyangdan area on the south of Soswaewon over which sun rises at noon. These poems are all on a status of side movement that is characterized by emanation and ascension which belong to attributes of yang. 3. With regard to Ohaeng-ron's interpretation about landscape in the Forty Eight Poems of Soswaewon, it was found that metal(金) and water(水) are typical examples of world combined by convergence. First, it was found that all of poems depicting sentiments of metal focused on embodying seasonal scenery, and were created in a bamboo grove area on the west from overall perspective of Soswaewon. They represent scenery of autumn among 4 seasons to symbolize faithfulness vested in a man of virtue(seonbi) with integrity and righteousness. Poems depicting sentiments of water were created in vicinity of Jewoldang on the north, possibly topmost of Soswaewon. They were divided into two categories: One category refers to poems embodying actions of welcoming the first full moon deep in the night after sunset, and the other refers to poems embodying natural scenery of snowscape. All of those poems focused on expressing any atmosphere of turning into yin via convergence. 4. With regard to Ohaeng-ron's interpretation of landscape in the Forty Eight Poems of Soswaewon, it was found that poems depicting sentiments of earth(土), a complex body of convergence and emanation, were created in vicinity of mountain stream around Gwangpunggak which is located in the center of Soswaewon. These poems focused on carrying actions of author Kim by way of natural phenomena and artificial scenery.