목적 : 국내 재활치료 환경과 사회적 제도의 상황에 맞춘 편마비 환자를 위한 한국형 수동 휠체어 기술 훈 련 프로그램(Korean version of manual Wheelchair Skills Training Program for hemiplegia; K-WSTP)을 개발하고 이의 효과성을 검증하여 향후 편마비 환자의 이동성 향상에 기여하는데 목적을 두었다. 연구방법 : 기존에 알려진 휠체어 기술과 수동 휠체어에 대한 일반적 훈련내용을 수정·보완하여 본 연구의 취지와 목적에 따라 K-WSTP를 개발하였다. 개발된 K-WSTP의 효과검증을 위하여 실험군으로 휠체 어 사용시 도움이 필요한 편마비 환자 6명, 대조군으로는 휠체어 사용시 독립적인 편마비환자, 작업치료 전공학생, 작업치료사 각 6명씩 총 24명의 대상자를 선정하였다. 실험 대상자들은 휠체어 훈련프로그램 시행전·후에 휠체어기술검사(Wheelchair Skills Test; WST), 캐나다작업수행측정(Canadian Occupational Perfomance Measure; COPM), 한국판수정바델지수(Korean version of Modified Barthel Index; K-MBI), 주관적의견 등을 평가 하였다. 결과 : 실험군은 훈련 후 WST와 K-MBI 점수에서 훈련 전에 비해 유의한 차이(p<.05)로 향상되었다. 또 한, 훈련 후 WST, 수행도, 만족도는 대조군과 유의한 차이를 보이지 않을 정도(p>.05)로 향상되었다. 전체 연구대상자에 대한 주관적 평가결과 어려움을 느낀 휠체어 기술은 ‘turns in place’와 ‘maneuvers sideways’(18.2%)를, 실험군은 ‘level transfer’와 ‘relieves weight from buttocks’를 가장 어렵다고 평가하였다. 결론 : 개발된 휠체어 훈련프로그램은 편마비 환자의 휠체어 기술, 독립성, 개인의 수행도, 만족도에 긍정 적인 향상을 보임으로써 향후 편마비 환자의 재활의지를 고취시키고 이동성 보장과 삶의 질 향상에 기 여할 수 있을 것이라 기대한다.

This study aims at exploring the elements of contemporary garden design reflecting the spirit of Kim Chong-Young, a pioneer of contemporary Korean art, and his art work by reinterpreting the garden in Kim Chong-Young’s birthplace. The study focuses on analysis of his art works and correlation between the plants and them, and spatial composition of the garden based on the literature and Kim Chong-Young’s art works, followed by the process of garden design which examines each element of garden. The components of spatial composition have been reinterpreted into visual, auditory, olfactory elements and humanities, which proves their values to be considered in the garden design. Finally, this study demonstrates the feasibility of establishing the garden which applies internal and external form of Kim Chong-Young’s art works to the plants reflecting symbol, humanities, philosophy and the spirit of Seonbi.

Sosaewon and Villa D’este were built in the early of 16th and mid-of 16th each. Sosaewon was built based on the accommodation of topography of the surroundings whilst Villa D’este highlights the distinction of terrace and axis existed on the configuration of the grounds and natures. Both gardens have reflected the social and political influence in that period of constructing tat the builders had been through. These factors have been analyzed by iconological methodology to interpret the inherent meaning of the garden in philosophical, mythological, religious and Feng-shui context and discovered the interconnected relations between two gardens. The characteristic of Sosaewon’s space is based on the Mu-yi-gu-gok, which is derived from a Taoist, due to a builder’s Neo-Confucianism value. Hence Sosaewon contains the adaption of the nature itself based on the values of Mu-yi-gu-gok, which are expressed by visual, auditory and literary elements, brining about the poetic beauty of waiting. The structures of Villa D’este reveal the combination of nature and art whilst it also connotes the theme of ‘The Choice of Hercules’, indicating the builder’s philosophy and will symbolically. Each space of Villa D’este has diverse space for various interpretations followed by this theme. For the interpretation of meaning of Sosaewon and Villa D’este, Sosaewon has adapted the nature of surroundings which contain a view of nature, on the other hand, Villa D’este borrowed the nature of surroundings to build and decorate the garden, using natural terrace and axis for the variation, and drag the river near the garden artificially to fit into the axis of the garden. Villa D’este contains significant mythological and iconological factor intended to highlight the builder’s dignity, status and position.

This study applies the results of iconological interpretation of Sosaewon and Villa D’este’s constructed areas to the context interpretation methodology of contemporary aesthetics, which is based on writer’s own artistic context derived from writer’s own artistic works. This approach intends to develop and apply new forms of garden art and imagification into writer’s own artistic works by mixture and juxtaposition of these whole heterogeneous implications of Sosaewon and Villa D’este. In addition, the study attempts to construct new value in garden art by applying the diverse artistic aspects of Sosaewon and Villa D’este derived from their diverse iconological interpretation, seeking transition from current standardized garden planning system to compound and fusion system of garden art in the modern times. The study attempts to draw new flow of contemporary garden art. For this, de-constructivism perspective, which contains post-modern cultural characteristic, is applied to examine the Sosaewon and Villa D’este’s hidden but intended factors and spirits by the builders.