• 한국산학기술학회논문지
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• 제13권12호
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• pp.6135-6142
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• 2012

본 연구는 15~16세기에 형성된 영남지방 상류주택을 대상으로 입지별 상류주택의 사랑채 내부 공간, 누마루의 기능, 규모, 유형 등을 통해 사랑채 누마루의 입지별 특성을 비교하고 또한 입지별 사랑채 누마루와 사랑마당 및 외부차경과의 시각적 관계를 분석하여 조선 초기 사랑채 누마루의 입지별 내 외부 공간 특색의 차이점을 파악하였다. 그 결과 구릉지형의 경우 좌향과 상관없이 사랑마당과 접하는 누마루의 면이 단변을 이루고, 평지형의 경우 구릉지형과 달리 사랑마당과 접하는 누마루 면이 장변을 이루었다. 둘째, 구릉지형은 사랑마당이 주조망의 대상이 아니며 주변 산세를 조망하는 보조적인 역할을 하며, 평지형은 사랑마당이 조망의 대상이면서 구릉지형과 달리 사랑마당 안에 내부정원을 형성하고 개방된 입면을 형성한다. 셋째, 구릉지형은 조산을 외부차경으로 활용하며 평지형은 사랑마당을 조망대상으로 활용하고 사랑마당의 기능이 다양화되면서 내부정원을 형성하는 차이가 나타난 것을 알 수 있었다.

• 한국연극학
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• 제48호
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• pp.385-419
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• 2012

Son Jinchaek got into his directing career since 1976 when he founded the theatre group Minye with Huhgyu and others. His experience in Minye was the turnaround of his life; Huhgyu was a teacher in his artist's life whereas Brecht was a teacher for his ideology to make 'Korean Theatre'. From these two teachers, he learned how and why Korean Theatre should be made. Since then, Korean theatre was his calling for 40 years of his directing career. As he established Michoo in 1986, it served a turning point in his art. His focus was on intrinsic attributes of Korean Theatre with Madang Jungshin. With Madang Jungshin, he tried to get over the former generation's fixation on external materials of Korean traditional theatre and folk culture to make Korean Theatre. Rather, he believed Korean Theatre could be realized when it grafted Korean social reality onto the stage, while the form was subsequent. He advocated Korean Theatre should mirror present social reality and circulate social energy. Also, he did not give up aesthetics. On the contrary, his aesthetic style was conspicuously evident in his productions. In spite of his life long career with noteworthy works, the critical discourses are strikingly scarce especially when compared with other senior and peer directors such as Hugh Gyu, Ahn Minsoo, Oh Taesok, and Lee Yoontaek. During his career he has crossed into various genres from Changeuk, Madangnori, and to theatres, which were too versatile to thread them into a discourse and caused a lack of theoretical greeting. Madangnori has anchored its artistic structure on its polished aesthetics which were acclaimed by the general audience for 30 years. For theatre, he concentrated on one production per year to grasp its own style. Theatre works also had revealed his own style of being opened and of being emptied which was certainly different from Madangnori, but had same aesthetic principle within it. This paper attempts to recompose his stylistic features with 'Madang aesthetics' which were based on open space, open acting style, and graphic ensemble. This paper tries to demonstrate how his 'Madang aesthetics' has refined his productions in scenography, acting style, and in more like metaphoric and metonymic symbolic expression of the graphic ensemble. To do this, two productions were explored: eLee Chunpoongjeun and Yulha Ilgyee Manbo. Madangnori was sorely explored by Son Jinchaek with his artistic colleagues Yoon Munshik, Kim Jongyeup, Kim Sungnyu, music designer Park Buhmhoon, and choreographer Guk Sooho. Though it has been ignored for its popular appeal by the doctrinaire theoretical opinions, it started to pull academic attention recently. His theatres are also getting sharp with his 'Madang aesthetics' as well as minimalistic expression in scenography, acting style, and graphic ensemble. Madang Jungshin is the soul and Madang aesthetics is the body in his artistic works. The Madang Jungshin animates the Madang aesthetics, so they become alive in his theatre.

• International Journal of Human Ecology
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• 제8권2호
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• pp.85-97
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• 2007

The two main purposes of this study were to develop the 'Three Generation Family-Madang Program' and to examine its effects on enhancing family functioning and strengthening family relationships. The 'Three Generation Family-Madang Program' consisted of six sessions, each of which included various types of activities and educational materials to evoke interests of the three-generation family members. Subjects of this study were 21 triples, consisting of mothers and their family members, each for the experimental group and the control group, respectively. Mean, Standard Deviation, MANCOVA, and Discriminant Analysis were carried out for the data analyses. Our results showed that the 'Three Generation Family-Madang Program' was effective in enhancing family adaptability and family relationships. Our program focused on the parent generation to have a better understanding and a more positive perspective toward other family members, which would enhance family functioning and family relationships. Our program also received positive feedback from the grandparent and grandchildren generation participants.

• 의료ㆍ복지 건축 : 한국의료복지건축학회 논문집
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• 제14권2호
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• pp.15-23
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• 2008

The criterion of 'void space' in this paper is based on the sense of unusual experiences to afford the improvement of the value of cultural life with the sense of Healing. The more chances to spiritual converse with nature and oneself, the higher the value of healing experiences that one has will grow. This analysis has been done on the premises that this is derived from the inner conversation with 'nature' and 'oneself', as well as among 'others'. In other words, while the 'community void' affords programmatic aspect in relations between humans, the 'ecological void', systemic aspect in relations between human and nature, the 'meditation void', the aspect of image in relations between human and human's inside. Jong-soung Kimm and Hyo-sang Seung are Korean architects who have consistently expressed contrastive essential characteristics of the 'void space' in their contemporary works. While the void space of contemporary Korean architectures have shown various external forms, there has been a trace deeply rooted from the absolute and neutral concepts of the masters of Modern architects and 'Madang'of Korean traditional space. The integrated composition in the works of Jong-soung Kimm suggested integrated characters and healing affordances of 'Madang', but it hardly showed the poetic simplicity that could be seen from the image of traditional 'Madang'. On the other hand, the works of Hyo-sang Seung represented the simple and silent image of 'Madang', but showed fragmented characteristics that didn't sufficiently afford the integrated healing functions of 'Madang'.

• 건축사
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• 통권649호
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• pp.60-65
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• 2023

• Journal of the Korean Institute of Landscape Architecture International Edition
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• 제1호
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• pp.192-201
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• 2001

Today, the availabity of usable pieces of land in urbanized areas is very limited. Specifically, it is very difficult to secure a piece of land to be used as a park for the public, mainly due to the high price of land in cities. However, the City of Seoul has carried out three action plans to secure land deemed for insufficient parks and to vitalize these small piece of land in downtown areas such as following: 1. Ssamzie-park(Korean version of a 'vest pocket park') Development Plan in 1990 through 1991. 2. Modernization Plan for Children's Parks since 1994. 3. Maeul-madang (Korean version of 'community garden')Development Plan since 1996. The purpose of this study was to present some design approaches for practical use of small urban spaces by articulating the concepts of Modernization Plan for Children's Park and Maeul-madang Development Plan of the winning entries and by describing how the concepts were actualized in reality.

• 건축사
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• 통권648호
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• pp.70-75
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• 2023

• 대한가정학회지
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• 제29권3호
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• pp.97-111
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• 1991

The purpose of this study was to identify kitchen and non-kitchen use of space for cooking and dining. Three rural villages, Kum-sung Ri, Young-san 1 Ri, and Yu-bang 2 and 5 Ri were selected for this study. Present and past use of space for cooking and dining was investigated by the field survey method. The major findings were that : 1) Both the kitchen and other space such as the outdoor courtyard(madang) were the space for cooking. 2) Dining activities took place in ondol rooms, the wooden floor room(maru), outdoor court yard(madang) and kitchen. In the winter eating activities took place in the kitchen where heating is provided. Many village people ate at a Western style or at a Korean style dining table(papsnag) in the kitchen. 3) Compared with study I, the present research found similar use of space for cooking and eating, with slight differences in space for eating.

• 한국주거학회논문집
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• 제1권1호
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• pp.27-35
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• 1990

In the course of modernization coupled with industrialization and urbanization. Maru or wooden floor and Teachong or great hall of Han-ok or traditional Korean housing has experienced functional as well as physical changes to a remarkable degree. The author made an analysis of the transfiguration of Maru/Taechong space(M/T) with relation to: 1)Madang or yard. 2)Anbang or inner room, 3)Hyon-kwan or vestibule. 1) In relation to Madang, interiorization of M/T by way of setting sliding glass doors has begun to appear. 2) In connection with Anbang, division of role/function is being observed as far as family entertainment and reception of intimate friends is concerned. 3) Owing to wider acceptance of Hyon-kwan space as a buffer zone system, the advent of Keo-sil or living room is thought to be facilitated. The analysis, however, does not say that Keo-sil of modernized Korean housing might well be interpreted as the mere extension type of M/T of the vernacular housing.

• 한국농촌건축학회논문집
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• 제17권3호
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• pp.71-80
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• 2015

This paper analyses connecting space of the 'ㅁ' shaped houses from Chosun Dynasty, Korea. Houses are reflected by various factors such as shapes, locations and territoriality by the social class system. Because of their spatial arrangements, 'ㅁ' shaped houses might have various planning approaches. This paper looks at Sarang-chae and An-chae, which are the common elements of the houses, and analyses their architectural characteristics in spatial arrangements and territoriality. The territoriality was formed by the combination of Chae and Madang. The spatial arrangement was formed by the social norms of its time. Hengrang-chae and Dam-jang, which were located in-between Chae and Madang, limit territoriality by providing privacy and interrupting the circulation.