• Journal of the Korean Institute of Landscape Architecture
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• v.43 no.1
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• pp.1-15
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• 2015

The purpose of this study was to analyze the commemoration characteristics of Vietnam War Memorials(VWM) in the United States(VWMUS). Through site survey and internet research, the researcher selected 87 VWMUS except monuments simply with markers, and analyzed 5 analysis items: design concepts, spatial characteristics, landscape details, sculptures, and interpretive texts and symbols. The results are as follows: 1. The analysis revealed that the main concepts of VWMUS were to cherish victims of the Vietnam War(85 sites (97.7%)), show veteran's dedication for country(85 sites(97.7%)), and publicize the contribution of groups by troop, regional, and membership(84 sites(96.6%)). 2. Most VWMUS were located in memorial parks and plazas. 59 memorials(67.8%) were designed to pursue the completion of each memorial assuming the form of symmetry and circles. On the other hand, 12 memorials(13.8%) were typed memorial walls and 11 memorials(12.6%) were formed by spatial sequence including various landscape details and grading. 3. Stone walls were mainly used to cherish victims of the War at 65 memorials(74.7%), and also, Flags like the Stars and Stripes, POW MIA flags, and state flags were hoisted to symbolize memorial's identity at all memorials. Additionally, Benches, monuments, markers, posts and columns, ponds and channels, Helicopters were partially introduced some memorials. 4. Sculptures were used 21 memorials(24.1%) which were smaller in numbers than other War Memorial in the U.S.A., for black stonewall were used for the main element of VWMUS. Except for a few sculptures that aimed to represent the Vietnam War symbolically and narratively, 16 memorials(18.4%) were formed to realistically express the image of wounded soldiers and their hardship in the Vietnam War. 5. KIA, MIA, Veteran's name were written and their images depicted on walls, Also, the symbolic phrase, 'ALL GAVE SOME, SOME GAVE ALL' and 'DUTY, HONOR, COUNTRY' were written on the memorials walls, and the POW MIA symbols were printed on the flags and engraved on walls. 6. In the United States of America, Democratic patriotism was considered a main ideological value in VWMUS by engraving KIA MIA's names on the walls, hoisting flags Stars and Stripes and POW MIA, and writing symbolic phrases 'ALL GAVE SOME, SOME GAVE ALL' and 'DUTY, HONOR, COUNTRY'. On the contrary, in Vietnam, nationalism, patriotism, and socialism were emphasized as main ideologies through raising war victory and resistance to foreign power as well as writing the symbolic phrase 'TO-QUOC-GUI-CONG' meaning 'our country remember your achievement' on memorial towers. Further study will be required to comparatively analyze VWM in order to understand national characteristics in Korea, Australia, U.S.A, and Vietnam.

• Journal of architectural history
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• v.12 no.3
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• pp.163-179
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• 2003

The records of about 60 travel essays of the Hall of Bhaisajyaguru(Healing) Budda which was built in Chung Yang Temple passed down since 1525. The chronological change of that Hall architecture according to each period was traced upon. The building structure of the Hall of Bhaisajyaguru Budda which has a roundabout way, and 6 pillars inside, sometimes each 6 pillars inside and outside is hexagonal, one story building in Japanese colonial period(picture 3-1) or the present(picture 3-3). The panaromic picture of Chung Yang Temple shows no alterations of the layout of buildings(picture 1-1), in which the Hall of $Praj{\tilde{n}}{\bar{a}}$(般若殿), the main building in the center and the Hall of Bhaisajyaguru(Healing) Budda, three story stone pagoda, stone lighthouse in front of it became the central axis. The Hall of Bhaisajyaguru(Healing) Budda remained as it was until Japanese invasions in 1592 and 1597. However, it was greatly damaged by the flood in 1717. It was newly built by Lee Ha Gon's leading in 1717-1732. At that time, the interior design was changed. With Bhaisajyaguru(Healing) Budda, 53 Buddhas and ${\acute{S}}arira$ of Stone stupa which show itself by the flood in 1717 was located in the image of the Mountain of Chunchuk or Cheontae like Yu Jeom Temple. The doors of this Hall are located in the front and back. In the four walls each, two realistic and cubic buddhism pictures were drawn, The color of those picture was partly taken off in 1671 and repainted in 1714. The new building in 1717-1732 regained its colorful appearance. However, the names written beside each Images of Buddha disappeared. The notable remark in these records is that some of these travel essays in 17th-18th centuries was calling this hexagonal hall as the octagonal one. It is very important records because it means that before 1525 the octagonal hall might have existed. Chung Yang Temple was rebuilt between 1976 and 1985 after the destruction in the Korean War. After the records are carefully read, the full scale excavation about this historic site was not done yet. The interesting issue of the existence of octagonal building will be resolved by the full scale excavation.

• The Journal of the Convergence on Culture Technology
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• v.3 no.4
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• pp.1-19
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• 2017

Death culture continues to lead human history with complementarity in the sense that it is half of life culture. The three sacred gates and the two tombs are connected to the olegil space. In this space, the principle of complementarity in which coexistence exist between life and death is hidden in Jeju culture. It is a question and wait. Contrarily, the opposite is complementary. (Contraria Sunt Complementa Latin) This refers to the relationship of each other in relation to one another and in a mutually dependent relationship. The Jong Nang is used as basic logic in DNA codon of human body as well as communication principle. In addition, there is a pattern of similarity of the linkage between the square oval ear of the grave, the Korean Taegeukguk and 卦, the genome (DNA) 卦. The Jong Nang 'Batdam' and 'Sandam' are conneted like 'black dragon ten thousand', and stone walls are connected to each other as the stone network, which is called as the 'Goendam' (and conventionally is told as the 'Goendang') and is related to the Family networks. The relationship between the Tomb of the ancestors and their offspring is believed to be "Soul Synchronizing the Ancestor to Offspring" and becomes "Change in Future", and Genetic factors in the physical blood are transmitted directly to the children. The DNA RNA was represented by the determinant.

• Journal of the Korean Institute of Landscape Architecture
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• v.38 no.1
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• pp.12-24
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• 2010

The purpose of this study was to analyze design characteristics of Korean War Memorials(KWM) in the United States(KWMUS). Through site survey and internet searching, the researcher selected 25 KWMUS and analyzed four analysis categories: design concept, spatial form, landscape details, and sculptures. The results are as follows: 1. The analysis revealed that main concepts of KWMUS were to cherish victims of the Korean War, show membership/locality/patriotism, express feelings and the meaning of war, and explain the Korean War realistically and symbolically. 2. Most KWMUS in memorial parks and plazas were designed to pursue the completion of each memorial assuming the form of typical and symmetrical circles and squares. Also, spatial order including spatial sequence was seen in some of KWMUS. 3. Stone walls, stone monument, flags, emblems and paving were used as main landscape details. The map of the Korean peninsula and Taegeuk were often introduced to symbolize Korea and the Korean War, and the symbolic phrase, 'Forgotten War' or 'Freedom is Not Free' were written on the stone to keep the Korean War in the minds of Americans. 4. Sculptures were used as important media to represent the Korean War in a variety of ways. Most of them were formed realistically, except for a few sculptures that aimed to represent the Korean War symbolically and narratively. In particular, the sculptures in Washington D.C. KWVM and Minnesota KWM were remarkable as symbolic media of war memorials in contemporary society. Further study will be required to analyze comparatively KWM in Korea and the U.S. and to understand characteristics of KWM in the point of design style.

• MISULJARYO - National Museum of Korea Art Journal
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• v.98
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• pp.130-153
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• 2020

Using stylistic analysis and historical documents, this paper examines the production details of images enshrined in Myeongbujeon (Hall of the Underworld) at Magoksa Temple in Gongju, focusing on the wooden seated Ksitigarbha Bodhisattva and the stone Ten Kings of Hell. Inside Myeongbujeon, the wooden seated Ksitigarbha Bodhisattva is placed at the center, flanked by standing images of Mudokgwiwang and Domyeong-jonja, with images of the Ten Kings and their attendants along the walls. All of these images were transferred to Magoksa Temple in the latter half of the 1930s. The wooden seated Ksitigarbha Bodhisattva came from Jeonghyesa Temple in Cheongyang, the other sculptures came from Sinheungsa Temple in Imsil, and a painting of the Ten Kings came from Jeongtosa Temple in Nonsan. The wooden seated Ksitigarbha Bodhisattva is known to have been produced in 1677, around the same time as the stone sculptures of the Ten Kings. A close analysis of the details of the bodhisattva sculpture-including the facial features, body proportions, and drapery characteristics-strongly suggests that it was produced in the 1620s or 1630s by the monk sculptor Suyeon (who was active in the early half of the seventeenth century) or his disciples. In particular, the rendering of the drapery on the lower half of the body closely resembles Buddhist sculptures produced by Suyeon that are now enshrined at Bongseosa Temple in Seocheon (produced in 1619) and at Sungnimsa Temple in Iksan (produced at Bocheonsa Temple in Okgu in 1634). According to the votive inscription, the stone sculptures of the Ten Kings and their attendants were produced in 1677 under the supervision of the monk sculptor Seongil. However, these are the only known Buddhist images produced under Seongil, and no details about other monks involved in the production have ever been found, making it difficult to speculate about their lineage. Historical records do suggest that Seongil worked on other projects to produce or repair sculptures with disciples of the monk sculptors Hyehi or Unhye, indicating amicable relations between the two groups. Unlike most such images in the Honam or Yeongseo regions, the Ten Kings at Magoksa Temple are made from stone, rather than wood or clay. Also, the overall form and the drapery conform to statues of the Ten Kings that were popularly produced in the Yeongnam region. Thus, the images are believed to be the work of monks who were primarily active in Yeongnam, rather than Honam. In the future, a systematic investigation of wooden seated Ksitigarbha Bodhisattva images and stone Ten Kings of Hell images produced in the Chungnam region could illuminate more details about the production of the images at Magoksa Temple, and perhaps shed light on the conditions that led to the production of stone Buddhist sculptures in the Honam area during the late seventeenth century.

• Journal of Industrial Technology
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• v.36
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• pp.39-43
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• 2016

The purpose of this study is to determine and compare the mechanical and flow properties of polyvinylsiloxane impression pastes. Twelve polyvinylsiloxane impression materials were used. As mechanical properties, tensile strength and tear resistance were measured. Impression materials are subjected to tensile stresses when they are removed from the oral cavity and from stone models and tear resistance is the ability of the material to resist tearing under a tensile stress. Flow is dependent on the ability of the material to resist shear forces. Flow tests were performed to determine the handling characteristics and was measured using a shark fin testing device. An impression material must be able to penetrate the narrow subgingival sulcus and tight interproximal areas. Therefore, it must be able to resist the shear forces as it is pushed between tooth and gingival walls. It is necessary to understand the properties of interocclusal recording materials and is considered that the results obtained in this study will provide guideline information for the manufacturing of impression materials and for selecting appropriate impression materials.

• Korean Institute of Interior Design Journal
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• v.27 no.3
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• pp.90-99
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• 2018

The purpose of this study is to study how F.L. Wright reflected the climatic properties and materials of the region into creative ways of designing his architecture. The research method examined the design methods and use of materials by Wright in existing research literature and compares the space plans of housing works in Arizona. The research results will be summarized as follows : 1) For two-story houses, pilotis was used to avoid the hot air and the walls on the ground floor were often planned as thick wall. 2) In the fifties, F.L. Wright's design method changed in a circle from the vertical and horizontal lines. 3) F.L.Wright's Architectural form concepts and design concepts were extracted from local symbolic forms and natural forms. 4) F.L.Wright avoided Arizona's direct light but Indirect sunlight enters into the interior space. 5)External space was expressed as a closed space, while internal space was expressed as an open space. It's like an organic space. 6) Most of the housing materials used are stone and cement from rough deserts, and wood with low heat conductivity and thick concrete blocks to prevent the sunlight from rising above.

• Journal of the Korean housing association
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• v.13 no.3
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• pp.61-69
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• 2002

This research is to analyze the spatial organization of a traditional rural community and its characteristics, the case of Hanbam village located in the north of Daegu city. The conclusions of this study are as follows; 1. The difference between private space and public space in the residential area of Hanbam village is obvious, and these two spaces are organically related each other by means of road. These spaces have some spatial characteristics of organization, such as center, hierarchy and sequence. 2. The private space consists of a residence module and a farming area in the settlement, and it is clearly farmed by the firm fence of rocks and by surrounding roads. Fruit-bearing trees such as Pyrus pyrifolia, Cornus officinalis, Diospyros kaki, Juglans sinensis are planted at the boundary. And most of residences are composed of a building, a inner court and farming fields. 3. The public space for the community mainly functions as ‘a meeting place’for residents, and consists of recreational spaces, ceremonial spaces, community facilities, and social facilities. Among these, Jeong-ja(pavilion), Seong-an Soop(forest) and Dae-chong(building for common use) are of great cultural value as important traditional spaces. 4. Two kinds of road are commonly fecund in the village; spontaneously generated one and planned one. This is straight inner streets and access paths to the village, and that is curvilinear alleys which are connected to Dae-chong, the core of village. Also stone walls and climbing plants on them are major elements of village landscape.

• Journal of architectural history
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• v.16 no.3
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• pp.115-131
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• 2007

Jeong Woo-tae(?-1809) was a military official who had worked as Byeol-Gan-Yeok in the governmental construction works during the late 18th century through the early 19th century. Byel-Gan-Yeok, literally a special technician, was an official post in the governmental construction works that carries specific technical tasks from the mid 18th century. Over 30 years, Jeong Woo-tae had devoted himself in the construction of various royal tombs, city walls, and palace buildings. He showed superb and various techniques in the works of stone carving and architectural details. After finishing the construction of the tomb of King Jeong-jo's father successfully, he was appointed as a governor of a rural town. Being on duty of the governor, he used to participate in the construction works as a technician. He also made a couple of innovative devices in the field of construction, like a carrying apparatus, Byel-Nok-No. His works secured the setting up of the post of Byel-Gan-Yeok in the governmental construction system in the 19th century. But his technical achievement remained as his own private works rather than developing to the universal growth of the craftsmen's skill. This might be a limitation of the Byel-gan-Yeok's role, whose position was remained in the midway between official and craftsman.

• Journal of the Korean housing association
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• v.14 no.5
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• pp.19-26
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• 2003

The purpose of this paper is to examine and analyse the features of plan type and space composition of the Siheyuan(courtyard house) which is one of the most remarkable types of the traditional dwellings in China. With the passage of time this house developed into one of the chinese house style. The technique of Siheyuan's spatial composition goes so far back in the New Stone Age. The relics of this are the colony layout, the system of four sides, the layout type of a palace, the picture of lacquered ware, the pictured brick, the earthenware of house type, the cave painting, the paintings of painters and others. The fundamental spatial conception of it arranges one or more courtyards to compose, sometimes in a very complex way, a general walled compound. The main longitudinal axis is mainly north-south, but the chief buildings, or halls are always placed transversely to it. These rectangular buildings mayor may not connect, by means of open galleries variously planned, with rows of smaller buildings flanking the courtyards on both sides. On this system, enlargement is never carried out by adding to height, but by continual duplication of existing units, and growth in breadth or preferably depth. The need for family security is thought to have led to the development of this rectangular houses with walls mainly blank on the outside, defensible entrances, and public service facilities in the center of the houses.