• Journal of the Korean Institute of Landscape Architecture
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• v.36 no.5
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• pp.94-107
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• 2008

This study examines the diversity of garden culture in the Joseon Dynasty focusing on genre painting. Genre painting gives us insight into the various ways of enjoying the garden. The intimate activities portrayed in the painting show us about the vivid scenes of Korean garden at that time. Among the various meanings of gardens, sensual pleasure is focused on here. The garden has always been a place of pleasure for seeing, smelling, touching, meeting people and erotic flirting. Here, the oriental aesthetic idea of Pungryu is adopted to reformulate pleasure based on the traditional way of thought. Most Korean gardens in the Joseon Dynasty were understood as the place for Pungryu. Sensuality in the Korean garden associated with a high level of spiritual pleasure. In order to look closely into garden activities, genre paintings were selected and analyzed. Several characteristics were elicited. First, the garden was understood as the medium of communication through reconciling man with nature. Mediating man with nature often calls for uplifting the sense of community within groups of people. Second, the garden was featured as the place of cultural creation. Many scholars utilized the garden as a place for poetic imagination. Therefore, the garden was the locus of intellectual discourse. Third, personal retreat was one of important functions in the Korean garden. the humble attitude toward landscape such as solitude and mediation might be understood as one way of enjoying the nature. Fourth, taste, power and social relations were embedded in garden culture. Therefore, the garden was regarded as a space of distinction. Garden making was understood as one of the high class leisure activity. It was quite natural that the garden was used as a place of showing up their taste and culture. Finally, we need to reinvigorate the rich meanings of garden in contemporary practices. In-depth analysis of garden culture through the lens of genre painting gives us quite useful information in Korean garden culture.

• Journal of the Korean Institute of Landscape Architecture
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• v.15 no.2
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• pp.115-137
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• 1987

The townscapes of “Bu” and “Mok” in the Yi Dynasty, Showing the typical landscape characteristics of Korean pre-industrial city, were influenced by the two major socio - cultural norms, One of Which is the “Pung - su theory” a traditional religious system on human settlements, the other is the “Churyegogong system” ; a principle of the traditional oriental city planning. The former exerted main influencs on the location of towns, its external Boundaries of domain and its direction, by natural topographic features in macro perspective, and the latter on the inner parts of townscapes, i. e., the landscape system of ‘center’, ‘boundary’, ‘direction’, and ‘domain’, as representations of administrative and Socio-cultural structures of that era, in micro perspective compared with the former. The systems of Korean old townscapes can be summurized as followhg brief paradigm, with general and .case studies. And the constituents of the paradigm, such as center, boundary, direction and domain, are inferred to reinforce the “sense of place” in townscapes, with their ‘physical appearence’, ‘meaning’, and ‘social activities’.

• Journal of the Korean Society of Costume
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• v.20
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• pp.179-190
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• 1993

In the history of fashion, few designers have interpreted the background of the time more accurately and energetically than did Elsa Schiaparelli. She understood the new role of women and believed clothes should suit one's life style. Schiaparelli begun with sportswear, later included suits and dresses. She produced them of great elegance and extreme chic. Simplicity of line was the key to her distinctive and elegant silhouette. Even her simplest designs had elegance. Her concept of clothes was architectual : the more the plane of the body were respected, the more the garment acquired vitality. Schiaparelli combined her knowledge, timing, and sense of daring in the presentation of her designs, colors, fabrics, and embroideries. For V, the garment was not only the medium for the couturier's craft but also the place for artistic expression. Her self-conscious equation of designer's objectives with that of artist is at the heart of her work. Schiaparelli's work is an expression of desire, not merely of design.

• Iberoamérica
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• v.21 no.2
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• pp.115-143
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• 2019

This article analyzes the relationship between Mexican writer Alfonso Reyes and the group of thinkers, writers, and critics that conformed the Ateneo de la Juventud, in order to show the reciprocal influence that existed between them. The article also considers the Ateneo's role in breaking from the old Positivist model and the acceptance of new ideas around spiritualism, youthfulness, the creation of a thinking and critical sphere, and intellectual aristocracy, among others. The relationship between the ideas of the Ateneo de la Juventud and the Mexican Revolution are discussed, as well as the social and cultural practices of dialogue and friendship, which are considered to be key to understanding the manifestations of intellectual sociability that took place at the turn of the century in Mexico and Latin America. The article also presents an overview of the role that the reading of classical texts and modern thinkers (Nietzsche, Schopenhauer, Bergson, Boutroux among others) had for ateneístas, as well as the way in which they preserved an arielista sense of a relationship between knowledge, ethics, and aesthetics as formative keys for the ideas men of their time.

• Korean Institute of Interior Design Journal
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• no.16
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• pp.182-189
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• 1998

The existential space concept which introduced the sense of place that began emerging recently together with the change of space concept results from people's fundamental existential humane aspect as the subject of perceptive experience. The tendencies of enlargement layering and diversification which we can see in contemporary architecture imply the possibility that elements of urban image can be incorporated into interior design. This study utilizes Kevin Lynch's theory which tries to relate environment to existential space. In this study we re-analyze and apply Lynch's $\ulcorner$the Theory of Urban Image$\lrcorner$to interior space and using the conclusion from a case study examine the applicability of the theory about visual perception to interior design. This study considers a new method of analysis to perceive and grasp interior space through the understanding of the cognitive map and image concept.

• Journal of the Korean housing association
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• v.15 no.4
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• pp.17-23
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• 2004

The purpose of this study is to grasp visual effects of landscape on window in living space. The visual effects in the 1/3 living room scale models that are different in the dimension of window, the place of window and the landscape through the window is judge using a method of magnitude estimation. In consequence of these experiment, the following results were obtained. 1) The brightness influences the evaluation marks on visual effects of window on living space. 2) The existence of landscape has an effect on a sense of extent for living space. 3) The existence of window in visual field makes a great difference to the visual effects.

• Journal of the Korean Institute of Landscape Architecture
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• v.20 no.4
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• pp.39-53
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• 1993

The purpose of this study is to interpret the townscape of Kyungju based on the urban images captured by citizens. 58 verval interviews and 50 sketch maps were collected and analized comparing with York which was a similar old city in England. In the verbal questions, elements like tombs, historic remains, families and historic values were frequently mentioned mainly because of their social and historic meaning. But in the sketch maps, physical elements like railroad station, city hall, roundabouts and streets were more frequently appeared probably because of their visibility. As a whole, many tombs which were built long ago in and around the city were commonly mentioned in verbal questions, sketch maps and even in nicknames. As the most dominant factors, it can be compared with York Minster in York. But whereas the shopping streets in York were very attractive to the people, many streets in Kyungju were regarded as dirty and inharmonious elements in townscape. In conclusion, we can call Kyungju 'the city of tombs', but to evoke the sense of place in the city the streets should be improved and activated as the center of city life.

• Journal of the Korean housing association
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• v.25 no.5
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• pp.113-124
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• 2014

The grands ensembles, or large-scale high-rise housing projects, are widely regarded as notorious products of postwar French government policy in the area of housing and urban planning. There was a general consensus that the grands ensembles had been a 'failure'. They were perceived as the source of all the ills of the contemporary city, as responsible for a social breakdown stemming from lack of infrastructure, geographical isolation, and monotonous environments. French government embarked on a broad renovation effort in light of the deteriorated condition of grands ensembles in the 1980s, which has been approved as generally 'successful'. This study focusing on French cases allowed me to demonstrate that following qualifications are critically important for successful housing projects: urban contextual continuity, socially mixed community, authentic planning for achieving sense of place, relationship between collective and individual expression, et cetera.

• Journal of the Korean Institute of Landscape Architecture
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• v.28 no.1
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• pp.129-135
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• 2000

In 1997, Yongsan-gu Office of Seoul held a design competition for 'Hyochang Park as a holy Grounds'. Although various shrines and monuments were located in it, Hyochang Park had lost its sense of pace as a 'holy grounds' mostly by its neighborhood-park-like atmosphere at its entrance area. Specific requirement for this competition was designing a 'symbolic object' to make this park more 'holy grounds' looking. However, it was very regretable that Yongsan-gu Office did emphasized on the 'object' rather than on the space or place in this design competition. Three points were emphasized in the winning scheme proposed by the author: where the object be located in the park, how the object be connected with the rest of the park, and how the object harmonized with some of traditional looking architectures and shrines. The purpose of this paper is to articulate the concept of the winning entry in detail and to describe how the concept actualized in reality.

• Journal of architectural history
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• v.28 no.3
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• pp.45-54
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• 2019

Mandongmyo(萬東廟) was a shrine built for two emperors of the Ming Dynasty in Huoyangri, Cheongju. Since the 17th century, the classical scholars of the Joseon Dynasty had valued Mandongmyo Shrine as a place for the so-called Jonjudaeui(尊周大義). In 1865, however, the shrine was demolished and ruined, afterward rebuilt by King Gojong(高宗) in 1874. King Gojong played an important role in the construction plan for the new shrine, which he adjusted the layout of the building and named it. Unlike in the past, the reconstructed shrine was thoroughly led by the government, and its architectural character was greatly transformed. The reconstructed Mandongmyo was respected as the national shrine, but subjected to oppression by the Japanese imperialism. The 68 years after it was rebuilt, the shrine was destroyed on the charge of inciting the sense of national consciousness.