• The International Journal of Costume Culture
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• 제13권2호
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• pp.154-159
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• 2010

Various decorative patterns and sculptures found in antique architectures like palace architecture and temple architecture are not only valuable assets of our culture but have religious meaning at the same time and show aesthetic aspiration and desire of Korean people. In this study, potential application of patterns in textile industry is suggested based on the reconstructed and patternized geometric patterns of window grids, a decorative element in architecture, and stair and stair somaetdol, a architectural element in Buddhist temples, using Photoshop and Illustrator program of Adobe INC AND Tex-pro program of Youngwoo CNI INC. All around the world today, efforts to reinterpret unique and antique architectures and cultural assets in a modern way has been increasing. Decorative patterns displayed in Buddhist temple architectures which are antique Korean architectures have excellent geometric aesthetic value. And the development potential of patternizing these elements into modern designs is high. Therefore, it is thought to be possible to develop high value-added fabric and to develop various fashion items including apparel and interior decoration based on modern reinterpretation of patterns of window grid and decorative elements of stairs and stair somaetol that are part of our antique architectures.

• 건축역사연구
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• 제11권3호
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• pp.69-86
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• 2002

Under the assumption that techniques of interior decoration often frequently used by people of the antique Greece and Rome became basis for scientific perspective in the period of Renaissance, this study analyzed characteristics of wall paintings excavated as relics of the antique Greece and Rome. The result of the study can be summarized as follows ; (1) Decorative wall paintings which were and have been excavated from relics of the antique Roman cities are characterized by single and multiple point techniques as their perspective. The two techniques were later adapted by people of the Baroque in the 16th century who recognized and expressed space through putting it into a certain framework. (2) Such antique wall paintings drawn using the technique of single point clearly indicate that the technique was not fully created in the period of Renaissance but developed by people of the antique Greece and Rome. Unlike its present form, the technique was unsophisticated and poor in many respects when first created. Since then, it has become manipulated as spatial recognition has been developed in various ways. (3) Illustrations on vase surfaces or wall-decorative painting panels of the antique Greece were painted mainly through the technique of multiple points which helped changes in the sense of space. The technique were later complied with by the theory of cubism which was emerged in the late 19th century. In other words, the technique was developed over times into a basis of the theory. (4) Some of the antique Roman and Greek wall paintings were drawn by using the method of single point perspective. When the height of the wall foundation, 90cm, as specified in [Ten Books of Architecture] by Vitrubius, the viewpoint for the method almost complied with the height of spectators' view, or 150cm. This height is almost same as the height of the view point employed by wall paintings in the Renaissance period.

• 건축사
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• 통권473호
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• pp.20-21
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• 2008

• 한국전통조경학회지
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• 제33권1호
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• pp.88-96
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• 2015

본 연구는 해안에 분포한 갑곶돈 일대 문화재 지역의 경관 특성을 살펴보기 위한 연구로 고문헌, 고지도, 근대의 사진자료를 분석하고 항공사진 촬영을 통해 현재 갑곶돈 일대의 경관을 살펴본 결과 다음과 같은 결론을 도출하였다. 첫째, 갑곶돈은 강화도를 진입하는 지리적 위치로 인해 강화도의 상징적 또는 실제적 관문요소로써의 역사적 가치를 지니고 있으며, 일대의 역사문화자원 또한 통과교통으로서의 장치 및 군사시설 등이 분포하였다. 둘째, 문헌 및 도상자료에 나타나는 갑곶돈 일대는 고려시대부터 군사시설 및 마을이 형성되어왔으며, 조선시대 강화외성의 축성 이후 갑곶돈의 진해루를 중심으로 마을이 확장되는 양상을 보이고 있었다. 셋째, 현재 갑곶돈 일대는 강화대교 진입에 따라 연속되는 해안경관이 조망되나 강화대교 인근의 경관저해요소는 개선사항으로 제시되었다.

• Journal of the Korean Institute of Landscape Architecture International Edition
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• 제1호
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• pp.136-142
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• 2001

Beijing Chuan Di Xia can be traced back to Ming and Qing Dynasties. It is located beside the old post way in the west of Beijing. At present, there are more than seventy units of traditional courtyard houses of Ming and Qing Dynasties and the antique features of the surroundings still survive. The dwelling suited to the historical and regional context and the profound cultural values accumulations etc., have precious historic and cultural values. Associated with the investigation of Chuan Di Xia, the paper explores the site selection, the layout, the spatial constructiveness and the underlying consciousness of Chinese traditional dwellings, unveils the common philosophic basis of traditional dwellings and offers new though for sustainable human settlements.

• 미술이론과 현장
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• 제16호
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• pp.175-199
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• 2013

Capriccio which has emersed in Italy of the 18th century is a new genre of the landscape painting. This genre represents reality, but it is very artificial product correspondingly its concept and character. It's birth place is distributed on various regions in Italy, but the main stage was Rome. Till the middle of the 18th century Rome was the Holy city of the Grand tour, the home of the Neo-Classicism and furthermore the field where archaeology and art history began to be instituted. On such historical situation the Capriccio came out and was recognized as the best popular genre in the visual art. It was favor of the art collection with the antiquity together and reflected the consciousness of the contemporary to the ancient. This study will examine the phenomena in the newly-developed archaeology and with few representative works of Giovanni Paolo Pannini as central term consider the Capriccio and the archaeological connotation. The systematical and institutional archeology which appeared at the age of the Enlightenment, on the contrary to the critical theories at the same time against capriccio, because it was regarded by them as paradoxical and too much sensitive, utilized it as a theoretical method very actively. Some among Historians and archaeologists did it, especially Francesco Bianchini distinguished the capriccio from simple imagination and made it a capacity of the knowledge. And through it he wanted to find out the historical truth. The visual art was influenced and encouraged by such attitude of the archaeology. However it's output spreaded out in various courses. While Giovanni Battista Piranesi, the best known Capriccist of the 18th century, tried to revive the antique through the epical value and his own imagination, Pannini gave priority to the strict historical research. In the such context Panni succeed Giovanni Battista Nolli who made the great map of the city Rome. Their Capriccio profited motive and was inspired by the historians and archaeologists such as Bianchini and Muratori. The Capriccio reflects not only the academic and popular interest for the antique, but also influenced on the upcoming scientific archaeology vice versa. It caused by their reasonable Interpretation and restoration of the antique through the visual medium. Finally as archaeological landscape Pannini's Capriccio is a historical case, in that the Capriccio applied the theoretical method of the archaeology to make art. It served as a momentum for the connotation to the archaeological thought.

• 한국전통조경학회지
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• 제35권4호
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• pp.29-42
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• 2017

제주도 소재 정의향교는 전통적인 유교 예제건축으로 유교문화경관을 표상하는 사례가 된다. 조선 태종16년(1416)에 정의현 설치와 함께 성산읍 고성리에 처음 세워졌으나 헌종 15년(1849)에 성내 서쪽으로 이건하여 오늘에 이르고 있는 유구한 역사를 가진 곳이다. 향교가 가지는 문화경관 자원의 특성을 공간구성과 유교의 공간예제 적용방식을 통하여 규명하는데 연구의 목적을 두었다. 연구를 위하여 정의향교가 가지고 있는 유교문화경관의 공간구조와 유교예제에 관한 특징을 다음과 같은 항목으로 분석하였다. 즉 정의향교의 건립과 이건에 따른 변화과정, 고지도를 통한 입지적인 해석, 정의향교의 유교적 상징요소, 공간구성과 배치형태, 물리적 구조, 주요건축물, 지형면에서의 입지특성, 축선의 변화, 그리고 대성전 전면공간의 위요감(D/H비) 등을 통하여 유교예제가 공간구조에 나타나는 특징을 파악할 수 있었다. 정의향교는 제주도라는 단절된 섬 지역에서 지역의 특수성을 고려하여 유교적 교화를 실현하기 위하여 건립되었으며, 성내 입지라는 한정된 공간 조건 가운데서도 수평적, 수직적으로 다양한 배치기법을 통하여 유교 특유의 공간예제를 적용하고 있는 것을 볼 수 있었다. 따라서 이러한 점을 되살려서 정의향교만이 가지고 있는 독특한 유교문화경관을 활용할 수 있도록 해야 할 것이다.

• 한국가구학회지
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• 제23권2호
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• pp.185-194
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• 2012

Contemporary society maintains mass-product system that keeps endless cycle of making and consuming. In this vein, everyday life becomes to be under the control of function and efficiency. On the contrary, the people are getting to have a desire of escaping from this everydayness, that is, the desire for non-everydayness. British architect, Nigel Coates understood the potentiality of contemporary metropolis which produce new experiences through their heterogeneities. During 1980s, Japanese economic bubble provided rich nourishment to the desire for non-everydayness based on consumers' tastes. Nigel Coates snatched this phenomena and designed commercial spaces aligned to the non-everydayness. He shows very eloquent version of escaping sense. We can find the exquisite quality of non-everydayness through design vocabulary of object's form and arrangement. In the viewpoint of object form, Coates adopted classical statues of Greek, that is antique, and modern gadgets such as airplane wings and seats. Also, we can find abundant gestures of curvilineal contours throughout the objects he designed. As for the objects' arrangement, he introduced repetition and curved composition that can stimulate human interaction with interior scape.

• 한국조경학회지
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• 제30권2호
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• pp.12-22
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• 2002

This study examines the visitors'evaluations of tourism resources in Insa-dong, which the Seoul metropolitan government has improved recently. This study adopted the method of Importance-Performance Analysis by collecting data through questionnaires. A random sampling of visitors to Insa-dong was conducted in June and July,2001. The survey included questions on the physical and psychological components of Insa-dong's tourism resources. In the case of physical components, eight factors(ancient arts shop, art gallery, atelier, calligraphy shop, pottery arts, traditional tea house, antique shop, traditional clothes) out of thirteen were categorized as 'keeping up the good work'. None of the Physical components was shown as 'low priority'or'possible overkill'. In particular, four factors(restaurant, heritage, Korean-style house and alley, traditional cultural festival) need to be impoved most urgently in terms of visitors'satisfaction. Survey results realize them as high priority in importance but low in performance, thereby designated as, 'concentrate here'. An image of the 'street' showed to be high in importance and identical in performance, so can be categorized between'keeping up the good work'and 'concentrate here'. The results show that unusual outdoor spaces and the festivals of Insa-dong have a significant meaning to the visitors. In the case of psychological components, three factors(general atmosphere experience of unusual atmosphere, appropriateness of stroll time) out of seventeen were categorized as 'keeping up the good work'. Ore factor (shopping) was designated as 'low priority'and not found to be 'possible overkill'. Thirteen factors (various events, possibility of various activity, various flood, richness of play, new experience, education cultural inheritance, parking facilities, resting places, green spaces, meeting places, guide map and information, cleanliness of facilities/convenience) need to be improved mast urgently in terms of visitors' fulfillment. They are perceived as areas of 'concentrate here'. This confirms that attractive events are essential for the recent visitor satisfaction. Furthermore, visitors are not satisfied with its amenity and acccss in Insa-dong despite the improvements. In conclusion, positive impressions, both physical and psychological, should be maintained while factors mentioned to be lacking should be prioritized in order of necessity to improve the image of Insa-dong and solutions need to be found and implemented. The results of this study would be helpful in the planning and management of nsa-dong considering the visitors'requirements.

• 한국전통조경학회지
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• 제34권4호
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• pp.37-50
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• 2016

창옥병의 지명 오류에 대한 문제의식을 바탕으로 고지도, 옛시문, 옛그림 등의 문헌자료조사와 암각 및 조망특성에 대한 현장조사 그리고 인터뷰를 통해 창옥병의 위치를 비정하고, 이곳의 향유주체인 사암 박순과 그가 경영한 배견와 및 별업 이양정의 공간 구조와 정원적 면모를 고찰한 결과는 다음과 같다. 창옥병은 옥병서원과 일체감을 갖는 공간역으로 옛그림과 고지도 그리고 암각문의 존재로 볼 때 옥병서원 바로 앞의 석벽임을 추정할 수 있다. 이 지역과 현재 창옥병으로 알려진 오가리석벽과는 직선거리로 불과 약 460m거리에 위치하고 있어 광의의 창옥병 경관영향권으로 볼 수 있다. 시문에 등장하는 "창옥병급산금(蒼玉屛及散襟)"이란 표현에서도 산금대라 암각된 병풍바위가 바로 협의의 창옥병임이 유추된다. 또한 오가리석벽에서는 단 1점의 암각도 확인되지 않는 반면 옥병서원 전면부 암벽 도처에는 사암 박순이 명명하고 주문하여 새긴 11개소의 암각 중 8개의 경물명과 제영시가 필첩(筆帖)처럼 밀집되어 있음은 옥병서원 앞의 강벽(江壁)이 의심할 여지없는 창옥병인 것으로 비정된다. '수월정신송균절조(水月精神松筠節調)'암각은 창옥병의 향유주체였던 사암의 고매한 인격과 덕행을 함축하는 창옥병의 상징언어이자 이곳의 장소 요체(要諦)로, 기존 알려진 것과는 달리 우암 송시열의 필적으로 바로잡아야 한다. 한편 사암의 정원유적 창옥병은 왼쪽으로부터 산금대-수경대-청학대-백학대의 4개 대로 구성되어 있다. 산금대 후면에는 본제인 배견와를, 백학대 좌측의 기암석벽 위에는 별업 이양정을 조성하여 멀리 오가리석벽의 장관(壯觀)을 관망하는 조망구도를 갖도록 계획되었다. 사대(四臺)) 좌측 가장 높은 곳에 입지한 이양정은 사암의 별업이자 독서처이자 장구지소(杖屨之所)이며 그 앞 너럭바위에 존재하는 와준(窪樽)은 사암의 술풍류를 반영한 정원시설로 비정된다.