• Design Convergence Study
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• v.15 no.6
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• pp.229-241
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• 2016

In generative design computer automatically and quickly generates many alternative design solutions, and the computer algorithms which perform the design tasks are important. The main purpose of this study is to propose a computer algorithm which generates three-dimensional shapes from a two-dimensional digital image such as a photograph or a painting. The base geometry of the final shape is a cylinder or sphere. A surface of the cylinder or sphere is deformed depending on the used image. The proposed algorithm was implemented as a computer program, and the program tested with several famous paintings. The algorithm and results presented in this study implicate the possibilities of the generative design which generates three-dimensional shapes from two-dimensional images. It is necessary to find and measure the values of the generated shape, and it will be a future research to find the relations of emotional and cognitive aspects between the input images and the generated shapes. Those studies are expected to expand the possibilities of generative design.

• Journal of the Korean Institute of Landscape Architecture
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• v.37 no.3
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• pp.91-104
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• 2009

This paper attempts to look at the identity of the traditional famous sceneries of Jeju Island by investigating the relationship between 'Yeoung Ju-Sipikyung(瀛州十二景)', which are the representative beautiful scenes of Jeju Island, and two paintings 'T'amna-Sipkyungtdo(耽羅十景圖)' and 'T'amna-Sullyokto(耽羅巡歷圖)' by a grasp of the contents and meanings of these two paintings. The following are the results of the study. In the 'T'amna-Sipkyung', which is the origin of today's 12 beautiful sceneries of Jeju Island, Baekrokdam and Youngsil are both symbolic places and the backdrops against which Jeju's myths were formed. Jocheonjin, Seogwijin and Myoungwoljin, located near the seashores, are strategic footholds in protecting the territory of the island and connotatively contain its culture and history. Seongsan Ilchulbong, Sanbangsan, Chwibyeongdam and Cheonjeyeon Pokpo are not only the quintessentially beautiful scenes of Jeju but also belong to 'YeoungJu-Sipikyung'. And 'T'amna-Sullyokto', which describes the Jeju horses and tangerines that were presented to the king as tribute, offers scenic elements with a strong political tone and is related to the five scene of 'T'amna-Sullyokto', showing that 'defense' and 'tribute' are motives in choosing the sceneries of people's daily lives here. Jeju's daily scenes in particular have been continuously transmitted: 'Idyllic lives with the background of a tangerine orchard' are shown in 'Kowon Panggo' and 'Kyullim P'ungak', and Jeju horses grazing on pastures or being ridden in hunting trips are presented in 'Sanjang Kuma' and 'Kyorae Taeryop'. Besides Baekrokdam and Youngsil, which do not belong to Sunyeok(巡歷) corridor of minister Lee Hyoungsang, 'Yeoung Ju-Sipikyung', directly related to 'T'amna-Sipkyung', has six beautiful sceneries: Seongsan of Seongsan Ilchulbong, Baekrokdam of Baekrokmanseol, Younggok of Youngsilgiam, Sanbang of Sanbanggulsa Chwibyeongdam of Yongyeonyabeom and Seogwiso of Seojinnoseong. The image of 'Gosumokma', the tenth landscape of 'Yeoung Ju-Sipikyung', was expressed as it is, through 'Udojeomma' and 'Sanjangguma'. The ten beautiful sceneries of 'T'amna-Sipkyung' were also especially described in 'T'amna-Sullyokto', besides Baekrokdam and Youngsil, which do not belong to Sunyeok corridor. As the places and landscapes emphasized on 'T'amna-Sipkyungto' and 'T'amna-Sullyokto' in common have been transmitted by the politicians and ancestors of Jeju Island, they have become established as today's 'Yeoung Ju-Sipikyung', passing through correction processes. When considering this process of development, 'Yeoung Ju-Sipikyung' are worthy of heritage and traditional landscapes accomplished in a long difficult period based on investigation into beautiful Jeju Island and the love of the island people for their home.

• Korean Journal of Oriental Medicine
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• v.9 no.1
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• pp.35-50
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• 2003

In Korean traditional medicine, there are 4 major diagnoses. They are 'Mang (Watching)', 'Mun (Listening)', 'Mun (Asking)', and 'Jeul (Touching)'. These ways are closely related to each other. Among the four, 'Jeul' is the most famous one because it is the final way of checking the pulse for the cure. Pulse checking has been used as an essential way of diagnosis, but there are some difficulties in doing so in the business matter. To overcome these problems the theories should be studied profoundly and heterogeneously. More importantly, these endeavors must be pursued on the basis that pulse-checking must be. done along with other diagnostic ways to diagnose more precisely and practically. Therefore, I want to study and analyze the pragmatic ways to help the business field. Wang Suk-Hua(王叔和) arranged the methods and theories of 'pulse-checking' that was used before Nea-kyung. The book is called Maek-kyung. But this is too complicated to use in the field. As a result Maek-kyul(脈訣) which is made of songs that help to memorize and practice was gain more popularity than the ${\lceil}$Maekkyung(脈經)${\rfloor}$ itself. But the songs are so simple and compact that the offsprings annotated this book again and made books consist of these annotations. Among these books ${\lceil}$Chandobangronmaekkyulgipsung(纂圖方論脈訣集成)${\rfloor}$(1349) which was written in Won(元) dynasty was imported to Cho-sun(Korea) and used as the most important book on pulse-checking. So I will study ${\lceil}$Maekkyul(脈訣)${\rfloor}$ which contains the essence of ${\lceil}$Chandobangronmaekkyulgipsung(纂圖方論脈訣集成)${\rfloor}$. And I will also study ${\lceil}$Dojumaekkyul(圖註脈訣)${\rfloor}$ and ${\lceil}$Maekkyulyouhae(脈結乳解)${\rfloor}$ as conference. The former, written by Jang-sae-hyun(張世賢), contains narrative paintings and prescriptions according to pulses. And the latter, written by Wang Bang-bu(王邦傅), contains criticism of earlies annotations along with his own theory. ${\lceil}$Chandobangronmaekkyulgipsung(纂圖方論脈訣集成)${\rfloor}$ was chosen as a text book of medical examination according to ${\lceil}$Kyungkukdaejun(經國大典)${\rfloor}$ and had been used during Cho-sun, dynasty after closely corrected by Heo Jun(許浚). It means, during Cho-sun Dynasty, everyone who wants to become doctor had studied pulse-checking through this book, and also means Cho-sun medicine emphasizes practicality. This book and the pulse-checking part of ${\lceil}$Dongeibogam(東醫寶鑑)${\rfloor}$, which published later, made the main frame of pulse-checking during Cho'sun Dynasty. As above, studing ${\lceil}$Chandobangronmaekkyulgipsung(纂圖方論脈訣集成)${\rfloor}$ which was major textbook of pulse-checking in Cho-sun, helps to study pulse checking itself as an important way of diagnosis in Korean traditional medicine. And more than that it helps us to understand. the. practical development of pulse-checking dyring Cho-sun dynasty. With these reasons I studied ${\lceil}$Chandobangronmaekkyulgipsung(纂圖方論脈訣集成)${\rfloor}$ conferring ${\lceil}$Dojumaekkyul(圖註脈訣)${\rfloor}$ and ${\lceil}$Maekkyulyouhae(脈結乳解)${\rfloor}$ to understand ${\lceil}$Maekyung(脈經)${\rfloor}$ which is practical book of pulse-checking. During so I got some achievements and I report it as. follows.

• Journal of Broadcast Engineering
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• v.15 no.2
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• pp.163-172
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• 2010

The free viewpoint video delivers an active contents where users can see the images rendered from the viewpoints chosen by them. Its applications are found in broad areas, especially museum tour, entertainment and so forth. As a new free-viewpoint application, this paper presents a stereoscopic free-viewpoint TIP (Tour Into Picture) where users can navigate the inside of a single image controlling a virtual camera and utilizing depth data. Unlike conventional TIP methods providing 2D image or video, our proposed method can provide users with 3D stereoscopic and free-viewpoint contents. Navigating a picture with stereoscopic viewing can deliver more realistic and immersive perception. The method uses semi-automatic processing to make foreground mask, background image, and depth map. The second step is to navigate the single picture and to obtain rendered images by perspective projection. For the free-viewpoint viewing, a virtual camera whose operations include translation, rotation, look-around, and zooming is operated. In experiments, the proposed method was tested eth 'Danopungjun' that is one of famous paintings made in Chosun Dynasty. The free-viewpoint software is developed based on MFC Visual C++ and OpenGL libraries.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.34 no.2
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• pp.75-86
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• 2016

The area surrounding Segeomjeong, one of the famous pavilions near the capital in the Joseon Dynasty, was a favorite place of scholars to visit and enjoy the beautiful natural landscape. The recreational culture of Segeomjeong area in traditional societies representing the prototype of urban tourism in modern society indicates cultural landscape which is a combination of the surrounding landscape and human activities. At this point, the purpose of this research on Saegumjeong area as a recreation place was to examine recreational activities and landscape elements before restoration. Through the relevant historical literature, there were several recreational activities such as traveling to enjoy scenery, taking a view of stream with waterfalls, doing creative writing of reciting poems and drawing about the greatness of nature and gathering on a broad and flat rock or Tangchundae. Also, the main landscape elements-such as Saegumjeong, stream, broad and flat rocks, pine trees, Tangchundae Peak, and mountains-were extracted through paintings of Saegumjeong drawn before restoration. Consequently, in this study, it was confirmed that the Segeomjeong area was the spot that scholars visited consistently, the center for travel, and the place for communication between scholars and national banquets. This study is significant, in that it drew conclusions on the cultural landscape of the Korean people through the ages and helped to discover the meaning and value of cultural landscape of recreation places based on Korean natural characteristics and cultural climate.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.1
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• pp.14-27
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• 2011

The study reviewed the content and the meaning of the present Yeoju Palkyung(eight scenery) through analyzing and interpreting the Palkyung poems, old maps and paintings, and classic materials transmitted in Yeoju area, and investigated the transmission process. Although five scenes of the Yeoju Palkyungs illustrate abstract landscapes derived from the Sosang Palkyung, there are mixed with local sceneries showing famous historical ruins in the area and local life of the Yeogang(驪江: river). Seunggyeong(勝景) of Yeoju, highlighted in old paintings, has been emphasized through duplication the object and the view point field of Yeoju Palgyeong(驪州八詠), which is usually symbolized to sailing boats along the Yeogang, forests around Cheongshimru, and the layer Jeontap and Maam above Shinreuksa(神勒寺) Dongdae(東臺). It is quite undoubtful that the Yeoju Palyong of Choi Sukjeong and Seo Geojung is the copy of the present Yeoju Palkyung, but the present version is found to be all included in the Cheonggijeongsipyoung(淸奇亭十詠) of Cho Moonsu since the 17th Century, which shows that the Cheonggijeongsipyoung is viewed that it played an important role for the transmission of the Yeoju Palkyung. Also, it. is concluded that the Yeoju Palyong recorded in Yeojidoseo(與地圖書) is the same landscape collecting with the presend Yeoju Palkyung, which would be dated back at least until the mid 18th Century. In addition, given the fact that the studied old maps show Eight scenery, Sachoneohwa, Shinreukmojong, Yeontanguibum, Paldaejangrim, Yangdonagan, Ibanchungam, Pasagwau, and Yongmoonjeukchui, recorded consistently in the same time order, the eight scenic points in the old maps had been apparently established as the typical copy of the Yeoju Palkyung in the 18th Century. Therefore, the transmission route of the Yeoju Palkyung follows two separate versions, one starting from the Yeoju Palyong(Choi Sukjeung, Seo Geojeong) to Cheonggijeongpalyong to Yeoju Palyoung(Yeojidoseo) to the present. Yeoju Palkyung, and the other from the Yeoju Palyoung Geumsa Palyong(金沙八詠) to the old map Palkyung to the Yeoju Palkyung(the late 18th C). These two transmission processes have their own cultural sceneries having the same origin, which are different only in perspective which attempts to cover the representative scenic landscapes including Yeoju and Geumsa.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.39 no.1
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• pp.1-9
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• 2021

The purpose of this study is to analyze Zhangjingxiu(張敬修 1823~1864), who made Keyuan(可園) in Lingnan, China, to find out how traditional gardens were created. This study focused on the analysis of the relationship between garden designer and space creation. To this purpose, the analysis was divided into garden designer life analysis, garden making background analysis, garden analysis as a space for interaction with local artists, garden analysis as art activity space for garden designer, and garden designer's unique garden creation. the results are as follow. Zhangjingxiu was born in Dongwan City in 1823, participated in the civil war at the age of 22(1845), returned home at the age of 26(1849) and made Keyuan. However, he again went through the Opium War(1856), and at the age of 38(1861) he returned home with a war-illness. A garden designer Zhangjingxiu died at the age of 41(1864). Since Zhangjingxiu was a soldier, he healed the wounds caused by the war and created a garden in order to realize the ideal world that Zhangjingxiu normally had. The garden making background can be found in the garden's name Keyuan(可園). Zhangjingxiu tried to express in the garden the meaning of 'there is nothing possible and nothing impossible in the world' learned through the war. Therefore, Zhangjingxiu named the garden housing and the lake as Gadang(可堂), Gaheon(可軒), Gajeong(可亭), Galu(可樓), and Gaho(可湖). In addition, he returned from the war and making a garden with love and filial piety for his mother. Zhangjingxiu left many poetry and oriental paintings in Keyuan with local artists. The places created as a base as a space to interact with local artists in the garden are 'Gaheon(可軒) and Galu(可樓)', and 'Chuwoljigwan(雛月池館) and Gajeong(可亭)'. In particular, Jasudae(滋樹臺), which can produce various miniascapes of orchids, is considered to be the core space of Zhangjingxiu's artistic space. Zhangjingxiu is considered to have become a famous garden by creating a very characteristic garden using Jasudae, Sokgasan(石假山) and Baewoldae(拜月臺) on the court in front of Gadang.