• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.29 no.4
• /
• pp.14-26
• /
• 2011

Imdaejeong Wonlim is located on the verge of Sangsa Village in Sapyeong-ri, Daepyeong-myeon, Hwasun-gun Gyeongsangnam-do toward Northwest. It was planned by Sa-ae, Minjuhyeon in 1862 on the basis of Gobanwon built by Nam Eongi in 16th century against the backdrop of Mt. Bongjeong and facing Sapyeong Stream. As water flows from west to east in the shape of crane, this area is a propitious site standing for prosperity and happiness. This area shows a distinct feature of Wonlim surrounding the Imdaejeong with multi layers as consisting of 5 districts - front yard where landmark stone with engraved letters of 'Janggujiso of Master Sa-ea' and junipers are harmoniously arranged, internal garden of upper pavilion ranging from a pavilion to square pond with a little island in the middle, Sugyeongwon of under pavilionu consisting of 2 ponds with a painting of three taoist hermits, forest of Mt. Bonggeong and external garden including Sapyeong Stream and farmland. According to documentation and the results of on-site investigation, it is certainly proved that Imdaejeong Wonlim was motivated by Byeoseo Wonlim which realized the idea of 'going back to hometown after resignation' following the motives of Janggujiso, a hideout aimed to accomplish the ideology, 'training mind and fostering innate nature,' on the peaceful site surrounded by water and mountain, as well as motives of Sesimcheo(洗心處) to be unified with morality of Mother Nature, etc. In addition, it implies various imaginary landscapes such as Pihangji, Eupcheongdang, square pond with an island and painting of three Taoist hermits based on a notion that 'the further scent flies away, the fresher it becomes,' which is originated from Aelyeonseol(愛蓮說). In terms of technique of natural landscape treatment, divers techniques are found in Imdaejeong Wonlim such as distant view of Mt. Bongjeong, pulling view with an intention of transparent beauty of moonlight, circle view of natural and cultural sceneries on every side, borrowed scenary of pastoral rural life adopted as an opposite view, looked view of Sulyundaero, over looked view of pond, static view in pavilion and paths, close view of water space such as stream and pond, mushroom-and-umbrella like view of Imdaejeong, vista of pond surrounded by willows, imaginary view of engraved letters meaning 'widen knowledge by studying objectives' and selected view to comprise sunrise and sunset at the same time. In the beginning of construction, various plants seemed to be planted, albeit different from now, such as Ginkgo biloba, Phyllostachys spp., Salix spp., Pinus densiflora, Abies holophylla, Morus bombycis, Juglans mandschurica, Paulownia coreana, Prunus mume, Nelumbo nucifera, etc. Generally, it reflected dignity of Confucianism or beared aspect of semantic landscape implying Taoist taste and idea of Phoenix wishing a prosperity in the future. Furthermore, a diversity of planting methods were pursued for such as liner planting for the periphery of pond, bosquet planting and circle planting adopted around the pavilion, spot planting using green trees, solitary planting of monumentally planted Paulownia coreana and opposite planting presenting the Abies holophylla into yin and yang.

• Journal of the Korean Geosynthetics Society
• /
• v.2 no.2
• /
• pp.25-31
• /
• 2003

Most recently, environmental problems arise from management waste tires by increasing number of automobiles. Waste tires are not compressible and not easy for degradation in landfill. Even if it were landfill, it is difficult to treat. Total amount of waste tires is about 20 million per year and the collection is 68.6% in this country. Structure of slope stability using waste tire blocks filled with concrete increases durability, reduce construction period, and it can be utilized as an example. Therefore, it reduces the volume of waste and recycles waste. Also, it prevents the air pollution due to the incineration and creates economic value.

• Proceedings of the Korea Water Resources Association Conference
• /
• 2023.05a
• /
• pp.448-448
• /
• 2023

도심 속 하천과 그 주변 지역(이하 수변)은 물과 자연환경이 주는 정서적 안정감과 쾌적함, 그리고 건강성을 대표하는 공간으로 도심 속 쉼터이자 힐링의 장소이다. 최근 수변이 도시경관의 질향상, 휴식 및 여가 공간 제공의 기능뿐만 아니라 열섬효과 완화 등 기후변화 대응에 효과가 있다는 사실도 재조명되면서, 수변이 도시의 발전과 활성화를 이끌어낼 새로운 동력이자 대안으로 급부상하고 있다. 본 연구에서는 서울의 4대 권역하천인 중랑천, 탄천, 안양천, 홍제천을 대상으로 하천과 하천 주변 500m 이내 구역을 하천공간과 수변공간으로 구분하고, 그 현황과 특성을 분석하였다. 하천(제방)으로부터 50m 이내 수변공간에 위치한 도로면적의 비율은 탄천이 40%로 가장 높았으며, 그 외에도 중랑천은 31%, 홍제천과 안양천은 28%로 하천변 도로면적비가 매우 높은 것으로 분석되었다. 특히, 중랑천은 하천공간 내 도로면적이 하천변 50m 이내에 위치한 도로의 면적과 비슷한 수준으로 나타났다.안양천, 중랑천, 탄천 대부분의 구간에서는 친수활동을 하기엔 다소 수심이 낮고(0.3m 이하) 유속이 느린 것(0.3m/s 이하)으로 분석되었고, 수질은 대부분의 구간에서 대장균 군수가 기준치를 수십에서 수백 배 초과하고 있어, 최상류 일부 구간을 제외한 전 구간에서 수영·물놀이 등 수상활동이 부적합한 것으로 분석되었다. 서울시민들은 주로 금요일과 토요일, 오후 12시에서 18시 사이에 하천을 가장 많이 방문하며 평균 2시간 정도를 머물렀으며, 대부분 걷기와 산책 활동을 하는 것으로 조사되었다. 도보, 대중교통 등 교통수단에 따른 하천진출입로 인근평균인구 대비 접근 가능 인구비율을 산출하여 접근성을 분석한 결과, 중랑천과 홍제천에서는 수변지역 내 평균인구의 20~30%가 도보 및 대중교통으로 20~30분 이내에 도달 가능한 것으로 분석되어 접근성이 가장 우수하였고, 안양천은 수변지역 내 평균인구의 15~20%가 30분 이내 도달가능하였으며, 탄천은 수변지역 내 평균인구의 10%미만이 30분 내에 도달가능한 것으로 분석되어 탄천의 접근성이 가장 열악한 것으로 나타났다.

• Journal of The Geomorphological Association of Korea
• /
• v.17 no.1
• /
• pp.29-38
• /
• 2010

Oegogae wetland is sub-alpine wetland which is formed in piedmont area in Jirisan National Park. Apparently Oegogae wetland seems to be well-protected wetland. Most alpine wetlands are located in the summit area, but Oegogae wetland is located in piedmont area which is transitional zone between the steep slope and relatively flat valley bottom. Oegogae wetland is active in terms of sedimentation and exceeds 1m in depth. Penetration tests show that composing material is soft such as peat and organic-rich sediment. Basal rock of the basin is gneiss and gneissic schist in general, which is good for the formation of wetland because those rocks are easy to form low permeability layer. Baseflow from the wetland takes control of the most of stream flow during the wet season and this is especially true during the dry season. Precipitation during the wet season increases water content and base flow from the wetland.

• The Journal of Natural Sciences
• /
• v.14 no.1
• /
• pp.123-138
• /
• 2004

This study was to investigate the planting arrangement of ornamental trees and shrubs that leads to an appropriate, type of templescape. Temples sampled for this study were Woljonsa, Sineunsa, Sinreugsa and Mitasa which fall all under the category of the level land. The results obtained were as follows : Open space of Daewoongjeon in all temples, a main Sanctuary among temple buildings, where Buddha is enshrined in, we could not find any kinds of trees/shrubs to be planted. But tere were Acer mono, Acer planmatum, Crataegus pinnatifidam Raododendron poukhanense, Texus cuspidata and Buxus mincrophylla to be planted, before Jeokkwangjeon, in which Buddha is exceptionally enshrined. In Geugragjeon of both temples of Sinheunsa and Sinreugsa, and Elysium building and Muryangsujeon of Woljeongsa temple, an immeasurable bliss building, in which an Amitabha is enshrined. was Taxus cuspidata planted numerously found. Particularly, Josadang, Muryangsujeon and Samsungkag of Woljeongsa temple commonly had Sciadopiys verticillata, which is known as one of Japanese-favorite trees. Syinga oblata Lindaley was also observed at Jeokkwangjeon of Woljeongsa temple and Keungnakjon of Sinheungsa temple, and Vidurnun opulus var. calvesvens, a symbolic flower tree imaging Buddha's head, was planted in Myungboojeon of Sinheungsa temple and Keugnakjeon of Sinreugsa temple. Juniperus chinensis which could be observed in both temples Sinheunsa and Sinreugsa was well arranged enough to be easily captured by human's eyes. In terms of templescape that might be considered in templescape, the correlation between trees/shrubs and temple buildings was thoroughly discussed. And, with the results obtained through precise studies, we presented here in this paper newly designed model of templescape in level land buddhist temples which is possibly applied for planting and arrangement of trees or/and shrubs.

• Journal of Navigation and Port Research
• /
• v.35 no.5
• /
• pp.393-400
• /
• 2011

The residential complexes in waterfront provide the residents with pleasantness and comfort with their scenety and view in the surrounding watersides. However, it is currently true that there has little been established any designing plan utilizing the environmental characteristics of the waterfront. In this study, a survey was conducted on the residents of a Japanese waterfront. in Nishimiyahama and Lake Biwa, and conducted a comparative and analytic investigation regarding water-friendly activities, residents' consciousness of the housing environment, and reasons for the choice of residenve. From the results, we were able to obtain some suggestive points resulting from the differences of the aforementioned. We also fully comprehended that there are some issues and needs for solution for the environmental characteristics in the waterfront as well as for the damage incurred by salt breeze and insects. In addition, we realized that scenery and view toward watersides are becoming the important factors in the residents' consciousness regarding the housing environment. In case of planning housing complexes located in the waterfront, we keenly understood that "the size of a room", "ventilation", "view and daily lighting", and "securing privacy" are having effects on the residents' consciousness of their housing.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.34 no.4
• /
• pp.66-77
• /
• 2016

This contribution studied constructional intentions, ideas, thought and aesthetic consciousness of Joseon Royal Tombs regarding its location, spatial organization and elements. A literature investigation and a field study have been carried out, and the royal tombs of the Goryeo Dynasty and the Shilla Dynasty also have been studied to look for the its origins. The outcomes are as follows. The tomb's system of Joseon Royal Tombs inherited the King Gongmin's Tomb of the Goryeo Dynasty of Buddhism, but they have their own characteristics in a spatial organization and elements involved in Confucianism, Taoism, not only Buddhism. In the aspect of location, Joseon Royal Tombs followed the Feng-shu geometric principle to find a land that have a mountain in the back, and a river in the front. Spatial plan was carried out with Confucianism to apply the order of rank. Confucianism, Taoism, and Buddhism are shown with the elements such as architecture, landscape architecture, stone objects, and historical forest being connected each other. Especially, constructional intentions, ideas, thought and aesthetic consciousness are connected with the people in Joseon Royal Tombs through the ritual ceremony of Confucianism.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.37 no.2
• /
• pp.90-103
• /
• 2009

The poem 'Kyungjusipiyung(慶州十二詠)' written by Seo, Geo-jeong(徐居正) describes sentiments felt for the ruined historical and cultural landscape of Silla's capital city, Kyungju. It differs from the existing 'Eight Sceneries(八景)' as it conveys the strong metaphorical aesthetics of ruins as the episodes and figures are sung, as well as the myths and stories related to the representative holy places of the Silla culture: Gyelim(鷄林), Banwolseong(半月城), Najeong(蘿井), Oneung(五陵), Geumosan(金鰲山), the scenic beauty of deep placeness, Poseokjeong(鮑石亭), Mooncheon(蚊川), Cheomseongdae(瞻星臺), Boonhwangsa(芬皇寺), Youngmyosa(靈妙寺) and Grave of the General Kim Yu-Sin(金庾信墓). Compared with the former "Eight Sceneries" Poems, including Seo Geojeong's 'Kyungjusipiyung', there is a difference in the content of theme recitation, as well as in structure and form, especially with the deep impression of the classical features of the meanings and acts. The sequence of theme recitation seems to be composed of more than two visual corridors visited during trips that last longer than two days. The dominant emotions expresses in this poem, through written in the spring, are regret and sadness such as 'worn', 'broken and ruined', 'old and sad', without touching on the beauty of nature and the taste for life that is found in most of the Eight Sceneries Poems. Thus, the feelings of the reciter himself, Seo, Geo-jeong, about the described sceneries and their symbolism are more greatly emphasized than the beauty of form. The characteristic aspect of his experiences of ruins expressed from 'Kyungjusipiyung' is that the experiences were, first of all, qualitative of the aura conveyed; that is, the quality omnipresent throughout the culture of Silla as reflected in the twelve historical and cultural landscapes. In this poem, the cultural ruins of the invisible dimension such as the myths and legends are described by repetition, parallelism, juxtaposition, reflection and admiration from the antiphrases, as well as the civilized ruins of the visible dimension such as the various sceneries and features of Kyungju. This seems to be characteristic of the methods by which Seo, Geo-jeong appreciates 'Silla' in the poem 'Kyungjusipiyung'. Ruins as an Aesthetic Object imply the noble pride of Seo, Geo-jeong in identifying himself with the great nature of ruins. In 'Kyungjusipiyung', the images of the ruins of Silla and Kyungju are interspersed in spite of his positive recognition of 'the village of Kyungju' based on his records. However, though the concept of ruins has a pessimistic tone connoting the road of extinction and downfall, the aspect here seems to ambivalently contain the desire to recover and revive Kyungju through the Chosun Dynasty as adominant influence on the earlier Chosun's literary tide. The aesthetics of the scenery found in Seo, Geo-jeong's 'Kyungjusipiyung' contain the strongest of metaphor and symbolism by converting the experiences of the paradoxical ruins into the value of reflective experiences.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.38 no.1
• /
• pp.98-106
• /
• 2010

Bangseonmun(訪仙門) is the attractive spots where Shinseon(神仙: Taoist hermit) ideas that makes Mt. Younju(瀛洲山) or the current Mt. Halla mystique has still remained and situated at Hancheon(漢川) Valley. Bangseonmun, which is known as 'Landscape Setting Here($L_{SH}$)' of Youngguchunhwa(瀛丘春花), which is one of ten famous spots in Youngjusipkyung(瀛洲十景), and Deulreonggui refer to 'the gate to the place where Shinseon is living.' It is described as the path to Mt. Youngju for Shinseon and the boundary between the mundane world and the world beyond the mundane. The old scholars at Mt. Halla entered the gate and met Shinseon, carving the word or picture of Bangseonmun, Whanseonmun, Wuseondae or Deungyounggu so as to structure the enchanting image on Bangseonmun. It is the poetic expression of the taste for the arts, breaking from the troublesome mundane world and riding the white deer to become the Shinseon, the desire for the ideal world in Taoism, and the identity of four famous scenic spots of Bangseonmun. Besides its enchanting meaning and the locational value of Bangseonmun, geological features of the valley and river and ecological value prove its unique value as a natural scenic beauty. Not to mention the locational identity and enchanting meaning of the poets carved in Meeaegak of Bangseonmun and the scenic view of 'Youngguchunhwa' as the subject of 10 famous scenes of Youngju, it is the place for communing with nature with the natural beauty of Bangseonmun Valley. As the cultural place for being together with Jeju people, it simultaneously shows the typical model as a scenic spot in our living. Viewing the scenic value and standard from the aspect of the Cultural Properties Protection Law, Bangseonmun Valley in Jeju must be the typical place and space that meet the requirements to become scenic sites.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.31 no.4
• /
• pp.84-94
• /
• 2013

This study scrutinizes the titles of serial poems on Japanese Apricot, which have lucid characters on season and time changes, having been appreciated and recited by the scholars in the Choseon Dynasty era and analyses the records of Zhang zi(1153~1235), a writer in Song(宋) Dynasty in China, having presented the objects harmonizing perfectly with Japanese Apricot. The results of this study categorizes the objects of Japanese Apricot appreciation and establishes the landscape characteristics on Japanese Apricot appreciation affiliated with as follows. First, the objects of Japanese Apricot appreciation are categorized into 'form of blossoms', 'natural feature(景物)', 'place of tree planting', 'the picturesque scene(景色)' and 'behavior'. Second, the scholars regarded the single trees whose branches are grotesque as the objects of appreciation and enjoyed them. They preferred white and single petal Japanese Apricot and admired red Japanese Apricot which has Taoism images. Third, they admired pines and camelias which represent fidelity and strength and valued Japanese Apricot with cranes which remind themselves of solitary scholars. Fourth, they appreciated the images of Japanese Apricot reflected on the water, and the poetically inspiring atmosphere where the trees are planted by the window. Fifth, the moon and snow were crucial weather conditions for appreciating. cold weather and time from night to dawn were ideally suited for enjoying. Sixth, they enjoyed blossoms in various fashions like bottling(甁梅), potting(盆梅), green-housing(龕梅), searching(龕梅) and black-and-white painting(墨梅) with a view to seeing blossoms earlier than the usual flowering time. Moreover, they used paper drapes, bead curtains, mirrors and ice lamps for active appreciation. They also listened to the sound of Piri(wind) and Geomungo(string), played go and drew tea with noble and elegant beauties when they enjoyed Japanese Apricot. The scholars influenced by the neo-Confucianism, which contemplates the objects, attached the specific sentiments like memories, grieves, dreams and farewells to Japanese Apricot and appreciated them. As stated above the scholars enjoyed the landscape including the picturesque scene like climate-weather, time-season and human behaviors not to mention the physical beauty of Japanese Apricot themselves and objects in company with Japanese Apricot including animals and plants.