• Journal of architectural history
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• v.12 no.4 s.36
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• pp.49-62
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• 2003

Vesely explains, the main source of our confusion and nihilism comes most probably from the ambiguous relationship between modem architecture, technology and aesthetics. Also, to overcome such crucial problems, many theorists recently emphasize to take part in cultural civilization and to preserve creative genes of great culture that is based on our interpretation of 'ethical and mythical nucleus of mankind,' rather than in technical modernization that constitutes a sort of subtle destruction of mytho-ethical nucleus of a society. They for architecture also strongly stress on a mythopoetic imagination and an ontological construction of building, which could make a form symbolic and mythical rather than mathematical and aesthetic representation. On this point, 'myth' becomes a vital idea for constructing and construing architectural form and space. And it is also one of the essential concepts to understand both the motive power of cultural continuation of place and the meaning of architecture. Nevertheless, its meaning and the citation of word in architectural essay are still obscure. It might be because the original concept of myth not only has been lain in the matter of philosophical contemplation. Thus, the intention of the research is focused on lightening the meaning of myth in architectural term. Especially, it is, first, concentrated on interpreting philosopher Ernst Cassirer's reflections which were written in order to emphasize the importance of 'mythical consciousness' for the world's cultural civilization. And, the second, it will continue to interpret the myth as a sign within the semiotic concept of Charles Sanders Peirce, and further to emphasis the significance of mythic signs for the continuance of artistic and cultural idea including architecture. The contents of the paper is not that of architectural planning and design methodology, rather architectural philosophy and epistemology. Nevertheless, in regard to architecture, the research will, against today's un-discriminated use of symbolic motifs and instrumental representation of form, suggest a concrete architectural and aesthetic theory of myth and sign, especially of the relationship between the idea of semiology and the function of cultural continuity.

• Journal of the Korean Institute of Landscape Architecture
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• v.29 no.3
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• pp.55-60
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• 2001

The Seomoon Bridge, a new planning site, is located in Sangdang-Gu Seomoon-Dong, Chongju and is the oldest bridge built during the rule of Japanese imperialism. As the name implies, Seomoon Bridge is located on the site adjacent to west gate. The Seomoon Bridge is an important bridge as an historical trace of the vanished town of Chongu. However, as new roads and bridges are built, the Seomoon Bridge is losing its functional aspects and has become an area crowed by many street stalls. Closely located newer to Sajic Fountain, the Seomoon Bridge, which has symbolically significant meaning, now faces many problems such as non-practical use of bridge, indifferent management and non-locality, which creates a negative effect on the surrounding cityscape. given this situation, in 2001, 2, Chongju city published an appeal for public subscription of a practical use plan which may design a new, landmark and establish resting spaces for the public. The basic direction of this planning is designed to be place as the symbolic space representing Chongju, and integrated with the surrounding environmental elements such as Moosim-Cheon(stream) and Sajic Fountain, and as a recreational, resting and leisure space of the public. Especially nightscape of the bridge inspires a fresh impact on many people. Because of the widespread influence of developed cities, diverse spaces which already exist or have disappeared may be reclaimed. By establishing appropriate use plans rather than negligence, this project will propose the improved quality of cityscape and show the possibility of bublic´s outdoor living space, and our team will find out the meaning in these approach methods.

• Korean Institute of Interior Design Journal
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• v.19 no.3
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• pp.119-127
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• 2010

This study investigates the examples of artistic intervention especially on the surface of architecture as a meeting place of art and architecture. Artistic intervention demonstrates the possibilities for the meaningful integration of arts into architectural spaces. This study summarizes the characteristics of artistic intervention on the surfaces of architectures as follow; first, the artistic intervention is applied to the broad ranges of designs including public art, architectural design and sign design that establish identities and unique characters to the spaces. Second, the artistic intervention on the surfaces is conducted by the participation of the various fields of artists, i.e. painters, installation artists, graphic designers and landscape designers. The artistic intervention is also conducted by individual collaboration between artists and architects as well as by the forms of public art of art-in-architecture program. Third, the artistic intervention on the surfaces is expressed using the complex combination of images, colors, patterns, and texts. They are applied to enhance the aesthetic and symbolic characters of buildings in public arts, to improve the visual characters of architectural design with graphics, colors, and patterns, as well as to increase communication skills and cognitive effects of sign design with letters and colors on walls and floor surfaces. Fourth, the artistic intervention is also applied on the surfaces to encourage people to communicate historic and symbolic meanings related to the locations and functions. Thus, graphics on the architectural surfaces could provide a public space, with which people could share common feeling on public arts. As a conclusion, the study finds that artistic intervention either as artworks or as elements of architectural design can not only enhance the aesthetic quality of architectural space but also expand the techniques of design representation. In addition, the artistic intervention can contribute to create a new realm of design where artists and architects work together to enrich our surroundings.

• Journal of architectural history
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• v.27 no.2
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• pp.63-78
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• 2018

Pagodas in Myanmar can be largely divided into Zedi and Pato. Zedi is a developed form of the early domed pagodas in India and Sri Lanka, which can be found in the introduction of Buddhism in Myanmar and the comparison of early pagodas in India, Sri Lanka and Myanmar. On the other hand, Pato is where statues of Buddha were enshrined, which is why many scholars referred to it as a temple. However, this study proposes that Pato shall be referred to as a temple-style pagoda in a form unique to Myanmar, based on the origin of Pato, definition of pagodas, and Sarira Enrichment Record of Pato. Moreover, it seems more appropriate to name this type of structure Stupa Temple(塔殿) or Stupa Shrine(塔堂) rather than a Buddhist temple(佛殿) or Buddhist shrine(佛堂) for clear distinction. Pato, or temple-style pagodas, has a ${\acute{S}}ikhara-style$ structure at the center like Ananda Pato upon entering the Pagan (Bagan) kingdom period, on which Zedi-style structures are built. As a result of examining the integration of various Buddhist schools and religions focused on Theravada during the period of King Anawrahta and King Kyanzittha, the ${\acute{S}}ikhara-style$ structure is a symbolic representation of the fact that Theravada embraced Hinduism. The common features shared by pagodas in Myanmar are the centrality of place and the verticality of $y{\check{a}}ngti{\bar{a}}n$ (looking up to the sky) in terms of shape. All temples are placed at the most important and central space, and their forms represent strong religious $y{\check{a}}ngti{\bar{a}}n$ and verticality. These are the features that stand out most among various pagodas in Buddhist countries.

• Journal of the Korean Institute of Landscape Architecture
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• v.39 no.3
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• pp.26-38
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• 2011

The purpose of this study was to analyze the commemoration culture of Vietnam War Memorials (VWM) in Vietnam. Through site survey, the researcher selected 23 VWM in Vietnam and analyzed 5 categories: memorial type, design concept and narratives, location and spatial form, landscape elements, and content expressed in landscape details. The results are as follows: 1. Because of the long, drawn out Vietnam War, which lasted from 1955 to 1975, VWM were divided into 10 types mainly as soldier cemeteries based on a traditional memorial style, battlefields and places of tragedies considering sense of place, war museums representing victory and atrocity in war, and peace parks promoting reconciliation and peacemaking. 2. The analysis revealed that the main concepts and narratives of VWM were to value the victims of the Vietnam War, remember soldiers' contributions, highlight the victory in war and resistance to the United States, and express a sense of place. Peacemaking applied only to My Lai Peace Park and Han-Viet Hoa Binh Cong Vien, built by international cooperation. 3. Cemeteries and appreciation memorials were designed to follow a traditional memorial space form that highly regard both axis and symmetry. The design concept at battlefields and places where tragedies occurred depended mainly upon a sense of place and used symbolic landscape elements to compensate for the undefined concept. 4. Sculptures and towers were mainly used to highlight war victory and resistance as the representative style of a Socialist country, weapons and pictures exhibited in war museums and battlefield showed the reality and strain of war. Symbolic elements of Buddhism and Confucianism were often introduced as a way to venerate the memory of deceased persons. 5. The state and heroic actions in the Vietnam War were realistically depicted on sculptures and walls. Also, the symbolic phrase, 'TO-QUOC-GUI-CONG' meaning 'our country remember your achievement', were written on the memorial tower and 'Quagmiire' was used to metaphorically represent the difficulties faced by the U.S. military on battlefields during the war and the uncertainly that pervaded U.S. society in those days. 6. In VWM, ideologies like nationalism, patriotism, socialism, capitalism were mixed and traditional cultures like Buddhism, Confucianism, Taoism were inherent. Differing from their Confucianism culture, war heroes, particularly including women, were often described by sculpture, monument, and pictures and the conflict in and outside the country regarding the Vietnam War was shown. Further study will be required to analyze design characteristics of VWM in the u.s. and to understand the difference in commemoration cultures between Vietnam and the U.S.

• Journal of the Korean Institute of Landscape Architecture
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• v.45 no.6
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• pp.98-114
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• 2017

This study analyzed the commemorative landscapes of eight Holocaust concentration camp memorials(HCCM) of Germany and Poland from a landscape architecture point of view including historical landscape, places and remains, and monuments. A site survey was conducted at Dahau concentration camp memorial(CCM) and Bergen-Belsen CCM of Germany in September of 2015 and the Auschwitz-Birkenau extermination camp memorial(ECM), Majdanek ECM, Belzec ECM, Sobibor ECM, Treblinka ECM, Chelmno ECM of Poland in April of 2016. The results are as follows. First, the landscape of the concentration camp at Dahau CCM, Auschwitz ECM, and Majdanek ECM liberated by the Allied Forces was well conserved with the maintenance of camp facilities and the spatial structure of camps while monuments and memorials seized by sociopolitical argument were built with restriction. But Belzec ECM, Sobibor ECM, Treblinka ECM, and Chelmno ECM devastated and planted artificially to forest were overwhelmingly surrounded with natural landscape, and also, excavated relics and remains were preserved and the monuments were built at the place of memory. Second, gas chambers, crematoriums, guard posts, electric wire fences, railroads and ramps, barracks, and drainage ditches were considered to be typical facilities present in the camp structure and the gas chambers, crematoriums, human ashes, and mass graves demonstrated the horrible history of these camps and the railroad and ramp where Jewish prisoners arrived also had the strong sense of place. These remains were regarded as symbolic elements to create a memory of the tragedy and place. Third, commemoration of victims was applied as the basic concept and recalling the memory of the Holocaust was also considered very important content. Religious reconciliation and peace was represented at Dahau CCM and the Jewish identity was strongly expressed at Treblinka ECM and Belzec ECM representing the Jewish community and Judaism. Fourth, the monuments with semi-abstract styles and abstract sculptures represented the Holocaust symbolically and narratively and came into the conflict caused by the abstractness to the memorial landscape at Auschwitz-Birkenau ECM and Bergen-Belsen CCM. Fifth, remains for recalling the memory of tragedy and place and symbolic monuments to stand for public memory were juxtaposed at the same place and preserving on the authenticity of camp site had been conflicted with monumentalizing intentionally. Further study will required a concrete investigation of the monuments in the HCCM and an attempt to comparatively study the commemoration characteristics of memorials in Korea.

• Journal of the Korean Geographical Society
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• v.40 no.5 s.110
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• pp.491-513
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• 2005

The Republic of Korea is planning to build the now Multi-functional Administrative city (NMAC). The purpose of this paper is to suggest the conceptual framework for this new city that relies on the Korean geomancy, oriental viewpoint on man and nature relationship, particularly in Korea. According to the Geomancy which could conceptualize the human-environment relationship in the site, the overall landscape image of the city could be symbolized by two flying crane with three Taegueks. In transforming the overall landscape image to urban form, two diamonds which means eternity and strength arises from the western spatial viewpoint, as means to protect and harmonize the human, land and mountain relationship in this site and the symbolic meaning of this site as generative and sacred place in Korean people's mind. On the one hand, through juxtaposing of the two diamonds a geometric structure shows up, on the other hand the main axis of the city could be established from two crane and three Taegueks. On the North-South axis from the core of the symbolic green axis, symbolic things will be located, and the administrative offices will be Placed on the East-West axis. Peripherals of the central axis also play a role in developing overall land use from image. The buildings and residents could be arranged and located according to undulations and this is based on the oriental theory of geomancy. We can build cultural amenities on the head part of the crane and on the core area.

• Journal of the Korean Institute of Landscape Architecture
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• v.37 no.4
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• pp.32-41
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• 2009

Places such as famous urban sights and foreign settlements have recently been created in Korea, which reflects the increase in social and cultural exchanges and the number of place-making and landscape-planning projects. Understanding place identity is required in environmental design and planning. This paper examined the components of the identity of place through comparison of perceptions of "placeness" between residents and visitors of Seo-Rae Village, Seoul, Korea. More than 40% of French nationals in Korea reside in the village, which many Koreans visit as an urban sightseeing place. Twenty-five French inhabitants and forty-one Korean visitors were surveyed. Insideness of Seo-Rae Village was formed by limited activities and needs of the residents, primarily children's education and food purchases. Residents mentioned that the physical environment, especially buildings, lacked theauthenticity of French style. The symbolic meaning of the French village influenced the visitors' activities. The authenticity of French style, however, did not affect the perception of visitors and outsideness of the place. Visitors' activities and cognitive meanings of the place were formed mainly by the commercial environment established by Korean investments. Commercialization of the place and related activities played an important role in establishing insideness of the place. The village shows the phenomenon of the reversal of insideness and outsideness. The "placeness" of Seo-Rae village has been shaped by visitors' tastes rather than the true experience of insideness. Mass identity formed by mass media using French characteristics influenced this phenomenon. Insideness formed by inhabitants appeared to be a pseudo-place, which was created by the French tastes of visitors and lacked French authenticity. Seo-Rae Villagerepresents a superficial cloak.

• Journal of the Korean Institute of Landscape Architecture
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• v.38 no.2
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• pp.37-52
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• 2010

The main purpose of this study is to examine how place representation is related to the formation of urban parks in Seoul, which began at the end of the 19th century. In order to grasp place representation, the hypothesis of this study is that most urban parks are undertaken with the idea of monumentality and symbolism or memories of the place itself. Diverse ways of representation through physical or non-physical aspects of symbolism, monumentality, and place memory are summarized as follows. First, in the case of the physical aspects of representation in the parks, monumentality and symbolism are expressed mostly through monuments or statues. In the case that the intention of the park is commemorative, celebrative elements are more actively utilized. In other cases, symbolic sculptures or statues, which are randomly designated by the government, are so often used regardless of the overarching concept of the urban park. In addition, in the case of place memory, monumentality or symbolism are commonly represented through bronze statues or partial remnants of the past. Recently, however, the site in itself has been constructed to coordinate the memories of a certain place into the configuration of the park. Secondly, in relation to the non-physical representation elements, many urban parks tend to reveal monumentality or symbolism through the names they are given. Recently, this tendency has significantly dropped, but some places of parksare frequently denominated in consideration of place memory. In the case of events held in parks, parks which were constructed in the beginning of the park movement, such as Tapgol Park, hold certain events to commemorate certain causes that took place in those days. On the other hand, the main purpose of recently-constructed urban parks relating to place memory is to encourage citizens to participate in events in a variety of ways.

• Journal of the Korea Fashion and Costume Design Association
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• v.14 no.1
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• pp.31-42
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• 2012

This study focuses on the establishment of the medical practitioners' brand image through uniforms design developments and the need for recognition, which follows the globalization and evolution of the medical industry. It also embodies public healthcare management services, as well as works to develop a unified design for nurse uniforms at the Gyeonggi provincial medical center in order to place it as a foothold hospital in the region. The results of the study are as follows: First, the symbols of nurse uniforms were divided into external and internal definitions. However, when comparing the uniforms of university hospitals and Gyeonggi provincial medical center, the nurses of the Gyeonggi provincial medical center preferred a uniform that had a strong symbolic meaning. Second, the functionality of nurse uniforms included management of uniforms, sewing, and measurements as important elements. Also, it was found that medical center nurses prefer materials with high functionality. Third, the aesthetics of nurse uniforms and decoration, which includes the external shape and popular influences, were displayed. Also, medical center nurses have a higher preference in external aesthetics than university hospital employees. The results of this study were used as the basis for the development of the design for the Gyeonggi provincial medical center nurse uniforms, which are as follows. First, in terms of symbolism, active application of the Gyeonggi provincial medical center's brand image and medical practitioners such as the Gyeonggi provincial medical center's logo were applied to establish a unified image. Second, in terms of functionality, consideration of the special working conditions and activities were taken into place through the use of functional materials and details to create superior application and efficient work performance. Third, in terms of beauty, bright and neat colors as well as pleasantries were emphasized to create a professional image that will reel in confidence from the patients.