• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.1
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• pp.88-96
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• 2015

This purpose of this study was to identify the landscape characteristics of cultural heritage area in Gapgot fortification by performing text analysis of related literature and antique maps. And accumulate modern photograph to investigate the landscape of modern. As a additionally analysis, was examined landscape of Gapgot fortification area using aerial photograph. The results were as follows. First, Gapgot fortification has the historical value as symbolic and practical gateway to Ganghwa island caused by geographical position. And historical culture resources were located in Gapgot fortification area such as through traffic, military facilities. Secondly, According to literature and antique maps, Gapgot fortification area was village and military facilities from Goryeo dynasty. The village and military facilities was expanded with Jinhae pavilion since construct Ganhwa castle. Thirdly, In modern Gapgot fortification area appear consecutive coastal landscape when entry Ganghwa bridge. But, inhibiting elements of landscape should be remedied.

• Journal of the Korean Geographical Society
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• v.38 no.4
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• pp.575-590
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• 2003

It was the landscape phase that social relations were extended by production of landscapes during the 16C～17C. Core lineage groups in study area had extended socio-spatial nexus through making of the landscape of ‘authority-ostentation’(권력-과시형 경관) and of ‘kindness-civilization’(시혜ㆍ교화형 경관). Therefore they could gain a result that their power and authority took root in community perfectly. In the case of the Kims of Kwangsan(광산김씨), the first landscape of ‘kindness-civilization’ was Jungheodang(the learning room Jungheo), and next it was built Yangsungdang(the learning room Yangsung), and Imlijung(the pavilion Imli). Through this landscape production, the consciousness of scholastic genealogy was born, and this genealogy consciousness could be deepened and extended in regional scale. One more important feature in this phase is the point that the Kims of Kwangsan in Yeonsan area and the Songs of Unjin(은진송씨) in Hoiduk area could unite socially by the landscape production of ‘kindness-civilization type’ becoming intermediation. And these social union, that is to say, it do connote enlargement of the territoriality. It tells that community of ‘regional’ scale was formed by of core lineage groups of ‘local’ uniting each other.

• Archives of design research
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• v.16 no.2
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• pp.311-322
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• 2003

In this research, a way to design a more convenient road for walking by creating more pedestrian space for streets located in busy areas due to many people crowded together was looked into. A symbol or characteristic was given to the street representing the image or regional culture of the area, and effort was given to create convenient yet characteristic street landscape by turning an environmentally sound, open area into pedestrian space. The basic concept of pedestrian space design was taken as the correlations between physical and psychological factors that appear on the environmental aspect of landscape. Areas for which it was difficult to come up with, a method to create a unique open space for pedestrians was looked into by analyzing with other known cases where the pedestrian area landscape was compared with that of the area in question.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.4
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• pp.76-84
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• 2010

Darangyi paddy in Namhae Gachon village provides natural beauty with its distinct location. Darangyi is a traditional Korean landscape, shaping a circular form to serve continuous cultivation. Despite the paddy's landscape, it is difficult to preserve its natural scenery due to many factors such as inadequate visual analysis. Under the belief that there is a necessity to preserve Darangyi paddy, the research in visual features of the paddy began to illustrate the relevance between its viewpoint and landscape objects. First, we researched typical view structures. When considering the visual features, Darangyi paddy landscape objects has a viewpoint from the horizontality to its below, which its center area is about $-5^{\circ}{\sim}-30^{\circ}$. From the analyzed data, the scenary of Darangyi paddy, which most people agree its decency, is formed in a visually decent location. The above type of measure of visual structure in Darangyi paddy is expected to be applied in maintenance of foothold of views in the future. Second, the surrounding elements play important parts to form the whole landscape of Gachon Darangyi paddy. Although Darangyi paddy is the principal part of the scenary, the landscape analysis showed a high relevance with the paddy's identity, forest around the paddy, sky, ocean, settlements, and the roads in terms of visual perception. It was affirmed that those elements around the paddy play important parts in structuring and providing the beauty of the whole landscape. Various viewy objects are seen obvious especially in a long distance, and the splendid scenary proved that those viewy objects are in indispensable location. In order to preserve the paddy, it seems necessary to consider the surrounding envrionment of Darangyi paddy, not just the paddy's sole landscape form. Third, Darangyi paddy has a distinct seasonal characteristics. According to the survey analysis, the full heading time in spring and time when people can take a picture against the sun light proved magnificence of Darangyi paddy. Thus, it would be ideal to maintain Darangyi paddy by securing the sunlight condition with decent landscape view and the views from its surrounding environments or researching the ways to principally maintain the surrounding environments.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.3
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• pp.168-182
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• 2014

Several Sungsi Gardens were built up in Old West Village during the period of the Joseon Dynasty. Most of them were painted as True-View landscape painting. This study aims at examining original locations of representative gardens of the Old West Village by empirical investigation of related True-View landscape paintings. It seeks to demonstrate the garden landscape in True-View landscape painting by utilizing ArcGIS, 3D topographic modeling to observe geographical locations and landscape more realistically. After forming 3D topographic modeling of estimated locations of the gardens, location of objects at composition of 3D modeling similar to True-View landscape painting was found by shifting viewpoints. And by overlapping the cadastral map on the modeling, we could verify the current lot number of the garden sites. The interpretation of processes and results are as follows. In the early stage, Chungpunggye garden was built at the very end of Mt. InWang valley. The site is hidden from the outside, and appeared as 'Enclosed Landscape'. In the middle stage, Chunghuigak garden was built between Okryu-dong valley and the surrounding ridge. It appeared as 'Semi-Opened Landscape'. In the late stage, Seowon garden was built at the highest level of the ridge among the research areas. It appeared as 'Prospective Landscape'. In the last period, Songsukwon garden, was built at a point of contact of the ridge end and surrounding residential area. So it appeared as 'Opened Landscape' to the town. In other words, the location, landscape and social function of the gardens in Old West Village had been gradually opened in Joseon Dynasty.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.34 no.2
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• pp.1-15
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• 2016

This study aims at the consideration of the usages of traditional waterscape elements, which are difficult to define their concepts and their differences and it has been proceeded mainly with analysis of literature. It elicited various waterscape types by extracting the place names associated with the watersacpe elements from the chapter "Sancheon" of the volumes Gyeongsang-province in "Sinjeung Donggukyeojiseungram", which is a government-compiled geography book in the early period of Joseon Dynasty, and drew the features of each waterscape element by interpreting the dictionary definition and the original text and studying the similar examples. The results of study are drawn as follows. 1. The chapter "Sancheon" includes 22 types of waterscape elements and they are classified by means of locations and water-flow forms: River Landscape, Lake & Pond Landscape, Coast landscape. 2. River landscape maintaining constant natural water-flow constitutes the linear type, related to the class of stream, which includes 'Su(water)', 'Gang(river)', 'Cheon(stream)' and 'Gye(brook)' and the dotty type, created by the nature of trenched meander rivers, which includes 'Tan(beach)', 'Roe(rapids)', 'Pok(waterfall)' and 'Jeo(sandbank)'. 3. Lake & Pond Landscape forming water collected in a certain area constitutes 'Ho(lake)', which is a broad and calm spot created around mid and down stream of river, 'Yeon(pool)', 'Dam(pond)', 'Chu(small pond)', which are naturally created on the water path around mid and down stream of river, 'Ji(pond)', 'Dang(pond)', 'Taek(swamp)', which is collected on a flatland and 'Cheon(spring)', 'Jeong(spring)' which means gushing out naturally. 4. Coast Landscape includes 'Ryang', 'Hang', which are the space between land and an island or islands, 'Got(headland)' which sticks out from the coast into the sea, 'Jeong(sandbank)' which forms sandy beaches and 'Do' which shows high appearance frequency by reflecting the geographical importance of islands. This study comprehended the diversity of traditional waterscape elements and drew the fact that they are the concept reflecting the differentiated locational, scenic and functional features. That way, it understood the aesthetic sense on nature, which ancestors had formed with the interests in natural landscape and the keen observation on it, became the basic idea elucidating the characteristic on Korean traditional gardens, which minimize the artificiality and make nature the subject.

• Journal of the Korean Institute of Landscape Architecture
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• v.47 no.1
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• pp.26-38
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• 2019

This study is based on the analysis of the characteristics of waterfront scenery. Recently, waterfront development has expanded residentially, commercially and into leisure space. In the development of the waterfront, it is necessary to apply designs suitable for urban and various other waterfront areas. In this study, the natural scenery of the waterfront was researched with respect to the Korean Jingyeong landscape paintings and the main elements of the scenery were analyzed. In this study, 105 painting of Korean Jingyeong landscapes paintings were selected for the analysis of the waterside scenery. The paintings of Jeong Seon were studied to categorize streams topographically into mountainous, upper, middle, lower, and ocean types. In addition, major micro-topography elements, which are 13 water image elements and 13 staffage elements were analyzed. The main waterfront landscape elements are divided into 13 types. The waterfalls were divided into long waterfalls, short waterfalls, cascading waterfalls, and other aspects considered were line stream, curve stream, multi-curve stream, pond, water surface, flow surface, wave surface, rock side, pile sandy side, sandy side. There are 13 kinds of staffage elements, include pine forest, pine trees, fir trees, bamboo trees, willow trees, broadleaf tree, villages, houses, gazebo, boat, bridges, and people. The waterfront landscape by a river area was explained according to each characteristic of the waterfront landscape and staffage, and their changes were analyzed in each area. The 105 paintings were divided into 35 pieces of mountainous streams, 9 upper streams, 5 middle streams, 35 lower streams, and 21 oceans, and the change of each waterfront landscape and staffage was analyzed. Based on the topographical analysis of the waterfront landscape and staffage, the results can be summarized into 5 types of the waterfront landscape. Based on the micro-topographical characteristics of the waterfront landscape styles are as follow. In the mountainous streams, long waterfall and deep forest type are apparent, which depicts deep mountain waterfall scenery, and a multi-stream forest is the scenery of a picnic in the mountains, which is a representative form of mountainous streams landscape. In the upper-middle stream, the water-surface and gazebo type is predominant. In the lower stream, the sandy-gazebo typ scenery is predominant and the sandy depiction is unique to lower stream landscape. Pile sandy-dock type is life scenes where human activity highlighted, is a representative form of the lower stream landscapes. The characteristic of the coastal landscape is the serpentine rock scenery on the beach and the wave-serpentine rock type that forms the main coastal landscape. The study aims to propose significant design elements for a natural waterfront landscape planning based on the analysis of landscape in the paintings of Jeong Seon.

• Journal of the Korean Geographical Society
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• v.42 no.5
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• pp.710-727
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• 2007

This paper suggests an inquiry into the characteristics and implications of urbanscapes produced by Internet cafes, widely called PC Bangs in Korea, and their effects on the motions and boundaries of human bodies as cyborgs which exist in between actual and virtual spaces or between human and machine spaces in PC Bangs. The paper, which is organised into two main sections, first investigates the streetscapes of PC Bangs as electronic architectural spaces and suggests the urban electronic space of PC Bangs in terms of hypertext space. Then, it looks at the effects of PC Bangs on human bodies which exist as human-machine hybrids or cyborgs in PC Bangs. The paradoxical socio-spatial characteristics of PC Bangs as third, liminal or hybrid spaces between actual and virtual spaces or between human and machine spaces can be explained as follows. Firstly, there appear both nomadic and sedentary landscapes in that people in PC Bangs move in virtual spaces on the one hand, and are static in actual spaces on the other hand. Secondly, both open and closed spaces are shaped in that although PC Bangs act as open or public electronic spaces, they involve invisible social boundaries, forming the gendered space of masculinism. Thirdly, the boundaries of the human body are extended and are shrunk at the same time in that while the sensory boundaries of the body in PC Bangs are extended through electronic networks, its social boundaries are shrunk through the imaginary space of solipsism. Thus and finally, PC Bangs can be characterised not only as social spaces entailing embodied and gendered landscapes, but also as non-places involving the cyborg landscapes of human-machine connections.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.34 no.3
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• pp.115-123
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• 2016

In this study, the landscape characteristics of the sacred Dangsan forests at Singi-ri, Namwon-si were investigated as an agricultural heritage, and the management scheme for revitalization of the village was introduced. FAO established the term of 'GIAHS' (Globally Important Agricultural Heritage Systems) for conservation of each country's farmland, unique agricultural landscape, and cultural diversity. The Ministry of Agriculture, Food and Rural Affairs of Korea evaluates that the Agricultural Heritage is a new means and potential for rural development. Dangsan forest, a traditional village forests of rural Korea is a representative 'agricultural heritage' with a history of more than several hundred years of Dangsan ritual. The Dangsan forests were closely linked with paddy fields. This forest was composed of two Dangsan forests, and one Bibo forest. Especially, the Dangsan forest 2 was established on the mounding with 395m in length and 15m in width. Although, most of Dangsan forests do not have accurate records about forest establishment, this forest has retained a stone monument that illustrated the history of the forest. These aspects of Singi-ri's Dangsan forest indicated clear difference and characteristics compared to other ones. This Dangsan forest has been left alone from the public attention. The Dangsan forest at Singi-ri need to be recognized for their valuable landscape characteristics. By linking the Dangsan forest with 'Jirisan trail', the trail path will lead people to the agricultural heritage at Singi-ri. Enhancing the management scheme will contribute to revitalize the village.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.35 no.4
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• pp.29-42
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• 2017

Jeongeuihyanggyo(旌義鄕校) is a kind of traditional, Confucian cultural landscapes that is located in Jeju special self-governing province. Its historical background illustrates that the first erection was started at Goseong-li of Seongsan-eup(城山邑 古城里) at Taejong(太宗) of 16 years(1417) and it moved to the west gate of Hyunseong(縣城) at Heojong(憲宗) of 15 years,(1849) Joseon. The aim at this study is to reveal characters of these Confucian Spatial Composition and Order, which are valuable resources that can be created into the cultural contents. The results demonstrate the characters of the Confucian cultural landscape as followings; the changing process of new building and its relocation, the utilization of antique maps in location interpretation of Jeongeuihyanggyo, Confucian symbolic elements of it, the spatial compositions and layouts of its buildings, physical structures, main buildings and their characters, locational points of topographic profile, changes of axial line at Daeseongjeon(大成殿), the D/H ratio of its courts. This study can show that Jeongeuihyanggyo is a case for realizing the Confucian reformation to enhance Seongeup Hyun's education standard considering the locality of the site which is an isolated island like Jejudo(濟州島). The author can see that the example of Confucian space is applied to various layout techniques, both horizontally and vertically, in a limited space condition of being in the castle. Therefore, it is necessary to revive this point so that it can utilize unique Confucian cultural landscape possessed only by Jeongeuihyanggyo.