• Journal of the Korean Geographical Society
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• v.48 no.4
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• pp.557-574
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• 2013

The paper examines the recent criticism from various viewpoints on landscape research in 'New cultural geography' focusing on the representation and duplicity of landscape as one of the key theoretical basis of the landscape school. The paper argues that landscape theories in new cultural geography should be considered as what is constantly changing over time and composed of various theoretical and genealogical elements rather than internally homogeneous, fixed, and closed system of knowledge. Through the recent 'phenomenological turn' of geography, landscape researchers explores a possibility of alternative approach to the existing theories and methods, which is so called NRT(Non-representational theory). The research objectives of the paper is to examine the theoretical and practical implications of such significant criticisms, which put emphasis on the idea of landscape as performance and practice rather than landscape as representation in cultural geography.

• Journal of the Korean Geographical Society
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• v.50 no.3
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• pp.305-323
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• 2015

The main purpose of this paper is to explore the paradigm shifts of landscape studies in Anglophone cultural and historical geography. By analyzing the work of the Berkley School in the 1950s and 1960s, the advance of humanistic geography in the 1970s, the revival of cultural geography in the 1980s ("new cultural geography"), and the recent development of non-representational geography, this paper demonstrates that the paradigms of landscape studies in Anglophone cultural and historical geography have been changed. By giving buoyancy to the concept of 'Affect'-a kind of 'spatio-bodily-magnetic relation'-as an essence of non-representational geography, I provide an easy way for understanding the implications of non-representational geography. In addition to this, re-conceptualising Non-Representational Theory (NRT) based non-representational geography as 'Kyung-Chi Jirihak' in Korean lexicon context, it is suggested that what the directions of landscape studies of cultural and historical geography of Korea should be and how it can be set up in the paradigm shifts.

• Journal of the Korean Institute of Landscape Architecture
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• v.41 no.2
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• pp.1-10
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• 2013

This paper aims to make an aesthetic inquiry into representing modes of wilderness in western films. The western film was the first genre in earnest about natural landscape, covering vast areas of America from the East to the West. It adopted representative modes suited to physical characteristics of landscapes which produced aesthetic characteristics. In western films, wilderness was represented at a distance from the camera lens as a setting and an object of contemplation. In eastern forest landscapes, western films adopted the visual model of Hudson River School's landscape painting which expressed the transcendental sublime. The western semiarid region reproduced the warrior's gaze shot from a high angle, and, in this visual mode, wilderness was expressed as a demonic landscape derived from Burke's definition of the sublime. On one hand, the western desert was represented as a place of hardship shot at a low angle which expressed the vastness, unevenness and limitlessness of the desert owing to the absence of horizon. On the other hand, the mesas of Monument Valley have sublime characteristics of size and time. In western films, they play the role of an emblem by rising from the limitless desert on the horizon. The prospect-refuge relationship, the desire to see without being seen, is discovered in the representative mode of wilderness in western films. In this context, this study hopes to discover the archetype of landscape representation.

• Journal of the Korean Institute of Landscape Architecture
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• v.43 no.6
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• pp.138-149
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• 2015

In order to search for the reasonable planning directions for representing traditional landscape, this study conducted the comparative analysis of the designs on the panels and their constructions from both winners of "The Landscape Design Competitions for City Infrastructure of Minlak(2) District in Uijeongbu" and "The Design Competition for Dongtan(2) District Land Development Phase 1". The representing targets and views, the composition and placement of representing space, the design of representing facilities and landscape planting were examined based on the text, master plans, elevations and cross sections, diagrams, images, and perspective drawings proposed from the competition panels. Then, the landscape constructions were reviewed. The results are as follows: First, the types of the representing targets and views are the agricultural landscape, as the local landscape of target area, which are divided into the life space of a traditional village, the traditional water space, and the traditional culture. Second, as to the composition and placement of representing space, the traditional theme spaces are formulated considering the surrounding land use and the local cultural heritage. However, some spaces were changed to the exercise space or convenient facility spaces required in a neighborhood park. Third, in the case of the representing facilities, a round island in the square pond, a traditional pavilion and Hwagye(terraced flower bed) were made without the facilities designed creatively. Fourth, the application of traditional planting techniques was focused on planting trees in the village forest on an island in the square pond and on Hwagye. Fifth, the traditional representing work has gradually advanced with the selection of subject and experimental facility designs based on the professional references. Sixth, the choice of the realizable subject, the expertise for information analysis and the creative design of the traditional facility are required in the future.

• Journal of the Korean association of regional geographers
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• v.21 no.2
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• pp.319-341
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• 2015

Eupseong (county seat) represents the Korean historic city which had constructed intentionally by central government during Joseon Dynasty. There were variety of government or county offices which named as Gaeksa, Dongheon, Nea, Jilcheong, and so on. Also, there are houses of the people in many Eupseong but not all of them. This study aims to reconstruct the landscape elements and its overall construction of Eupseong in the Late Joseon dynasty on the original land registration map(1913). For this purpose, the author underlines to set-up target period for reconstruction. This study considers the early 19th century in Joseon as completion period of Eupseong landscape, and then researches distribution of Eupseong and major elements of its landscape in national scale. Based on those results, the author tries to reconstruct location of major landscape elements and layout of Eupseong landscape in the early 19th century on the original land registration map in case of Taean Eupseong, Seosan Eupseong, and Haemi Eupseong in Chungcheongnam-do (province), Korea.

• Proceedings of the Korea Water Resources Association Conference
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• 2020.06a
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• pp.410-410
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• 2020

농업용댐에서 다목적댐으로 재개발된 댐인 성덕댐의 이수기, 홍수기 확보수위 등 장래 실제운영이 예상되는 수위를 고려한 경관수위 개념을 도입하여 댐주변의 시설물을 친환경적으로 배치하고자 한다. 댐을 계획할 때는 저수지 모의운영에 의하여 적정 용수공급량과 홍수조절량을 고려한 계획홍수위와 상시만수위를 산정하게 된다. 홍수기말 상시만수위 운영 조건에서 과거의 유입량이 향후에도 그대로 재현된다고 가정하여 보장확률을 고려한 경관수위를 결정하였다. 성덕댐의 경우 37년에 1회 물부족이 발생한다고 가정하여 경관수위를 산정하였다.

• Journal of the Korean Institute of Landscape Architecture
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• v.36 no.5
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• pp.82-93
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• 2008

This research focused on the process in which 'the same scenery' is recognized and represented as 'a different landscape' to determine the symbols and meaning of the scenery and landscape included in real-scenery landscape paintings of the 18th-19th centuries. As a result of analyzing the visual points, the content and expressions of 25 real-scenery landscape paintings of Chong Seok Jeong(叢石亭), it can be seen that the transmission of a kind of semiotic landscape on the basis of a specific symbol was accomplished naturally through imitation and representation for the purpose of the expression of Chong Seok Jeong-like idealized scenery. This shows that the unique images of Chong Seok Jeong have long been passed down after taking root as a unique benchmark The meaningful symbol of 'a strange Saseonbong(四仙峰)', which is broken by the spray after rising high, and 'a pine forest' have both been transmitted as being in the manner of Chong Seok Jeong. This has been equipped with the stereo-type scene by being a collective symbolization as the psycho-scenes in memory element of Chong Seok Jeong. Through the pictures of both Gyeomjae(謙齋) and Danweon(檀園), the process by which a specific painter's pictures become acculturated is highly interesting. The scenery expressed in these pictures was clearly that of a landscape of which its particularly emotions and remembrances were repainted through the experience of several places and original sketches. This can be explained as the concept in which the image from 'a specific scenery' gained through actual experience, that is, a personal feeling, has been expressed. The picture that was expressed as a different figure even at the same visual point for the same scenery is the result that was redefined through the scenery subject's recognition. Also, the modification of the scenery object can be colorful through meditation and Sachu(邪推: guessing with wicked doubt). The scenery recognized newly through adoption, omission and emphasis, it is 'the specific scenery' in the heart and is a figure having been more similar to 'a landscape' if the objective life reproduction before being acculturated is a figure similar to the scenery. So, the concept looks like being very persuasive that 'the nature with objectivity captured sensuously' simply is the scenery, and that 'the subjective phenomenon having acquired the cultural nature by being introspected in the method of aesthetic nostalgia is a landscape'.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.2
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• pp.130-141
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• 2012

This study examines the characteristics of landscape elements and the reappearance techniques of traditional landscape image in Chinatown of the Shanghai Street in Busan, Korea. The subjects of the study are commercial buildings owned by Chinese residents, commercial buildings' naming design and environmental sculptures in the Shanghai Street. The results are as follows: First, the design methods of the front side of commercial buildings were classified into two parts: facede design of buildings and signboard design. The design form of the buildings' facades were classified into five types, there are: emphasis type on Chinese characters' signboard, addition type on decorative signboard, introduction type of traditional patterns, imitation type of traditional architectures and modern architectures' modes. The signs of chinese commercial buildings were observed mostly as having a traditional Chinese font in yellow/white on a red background. It has been found that this style was the most popular method of sign design. Secondly, The commercial buildings' naming design was analyzed into design methods and meanings. Design methods were classified into three types: a combination of meaning and place, a combination of season and atmosphere and tourist attractions. The meaning of the commercial buildings' names was divided into three kinds: the wishes of the prosperity, elegant type and the appropriation of local attractions. Thirdly, the environmental sculptures of Shanghai Street were found to have been influenced by both through out Chinese culture with mixed Korean culture. Finally, as for characteristics of landscape elements, we found three reappearance techniques - addition, replacement, juxtaposition. The technique of addition is added new face to the base map by just two methods - extending and overlapping area. Replacement is created new faces from base map by the action of replacing, it has three types - local replacement, package replacement, successive replacement. Juxtaposition is the fact of two or more things placed together with contrasting effect, it also has three types - the same kind juxtaposition, a different kind juxtaposition, topological juxtaposition. This study is the basic research which is analyzing the landscape design in chinatown. But the research only on Shanghai Street may have some limits in scope. It is considered an necessary study to add, which is about chinatown in other city such as Incheon, Jeonju. Then it is expected that the results of this study can be used for the basic data of the landscape plans, that municipalities are actively progressing their respective development projects of Chinatown.

• Proceedings of the KGS Conference
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• 2005.05a
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• pp.119-121
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• 2005

• Proceedings of the Korean Institute of Landscape Architecture Conference
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• 2017.10a
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• pp.39-41
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• 2017