• Journal of the Korean Institute of Landscape Architecture
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• v.37 no.1
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• pp.87-99
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• 2009

This research is an introductory study that hopes to interpret the cultural scenic landscape by analyzing Korea's mountains, streams, topography, color, light, human behavior, and more based on real landscape paintings. It places its purpose on understanding our intrinsic cultural scenic landscape by investigating the changed topography and the differing life patterns caused bythe active national land development after the modern era. With Seoul, which is now difficult to find images of its past, and the surrounding areas of the Han riverbed, the interpretation related to its original topography, landscape, climate, weather, and human behaviors was observed while the main focus was placed on the climate of the perception held by people regarding Mt. Geumgang and other ranges which are not fully opened to the public yet. In order to comprehensively analyze the figures of features and appearing landscapes including color, light, and more, it was described through the concept called climate. Hereupon, the real landscape paintings by Gyunjae(Jeong-Seon), mainly bearing features of existing Korean mountains, wereutilized as visual historical material. However, not having all his works, other pieces with representative characteristics were utilized such as "Gyeong-Gyo-Myeong-Seung-Chup(a painting with picturesque sceneries around old Seoul)" and "Hae-Ak-Jeon-Shin-Chup(a landscape painting including even the spirits of the seas and mountains)" which contain the regions' distinct scenery. As a result, the old cultural scenic landscapes of Korea are regarded as containing diverse mountains and where the conceptions of the treatment of mountains were reflected.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.38 no.1
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• pp.1-9
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• 2020

This paper investigates spatial composition and landscape characteristics of the royal tomb(Jangneung in Paju) where the 12th King(Injo) and the Queen(InnYeol) of the Joseon Dynasty are buried. Based on the investigations, the study suggests the management plan of the Royal tomb at the end. The study includes research on ancient literature and the on-site survey to estimate the ancient landscape architecture of the Royal tomb. Thereby, it is intended to provide the basic data for the identification, preservation, and restoration of the landscape architecture. As a result of the study, first, Jangneung is confirmed that it is a typical formal landscape structure of the Royal tomb in the Joseon Dynasty. Second, Ecological resources around the royal tombs are consistent with previous records and current field research. Third, although the Japanese colonial rule damaged much of the Royal tomb, it preserves much of its core facilities. However, the restoration of ancillary facilities is required, and a World Heritage Conservation Management Plan is required that complies with the ICOMOS Charter.

• Journal of the Korean Institute of Landscape Architecture
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• v.39 no.2
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• pp.73-90
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• 2011

The purpose of this research was to find out the characteristics of secluded cultural landscapes that were retained by Eyogye Cho Lyeo(漁溪 趙旅) as a recluse or a schola at the early time of Chosun dynasty through his poems, residential site and his successors' landscapes. The study sites were selected such as Wonbukgae(院北齋), Chamijeong(採薇亭), Gomaam (叩馬巖) and his graveyard. In order to do that, Wonbukgae, Chamijeong, Gomaam and his cemetery were selected as studying sites. Also researching methods were used by grasping the landscape elements through reading ancient books such as "Eyogyezip(漁溪集)", field-researching, analyzing characters of his secluded landscapes and interpreting his poem's meaning. This research found that: 1) After Danjong(端宗)'s dethronement, he returned to his home town and never come out to the world again. He wanted to keep fidelity to his king forever. 2) He was affected for his seclusion from many people who were Ryu Gyebun(柳桂芬), Bae Junghu(裵仲厚) as his classmates at Sunggyungwan(成均館). Also Won ho(元昊) and Kim Sisyub(金時習) as members of Sangyuksin(生六臣) affected him for sake of their seclusion. 3) The meaning of his seclusion expressed the notation of seclusion as a fisherman from his pen name as 'Yeogye'. Also this kind culture has very particular behavior such as concentration phenomenon of action, absolute eccentricity of seclusion, tourism of nature and deep knoledge of feng shui, strong persistence of seclusion and confucian practical attitude of filial behavior. 4) The secluded cultural landscape is divided to four regions. They have two types of landscape such as secluded cultural landscape of his lifetime and landscape transmission of his posterity and scholars. 5) The interpretation of his poems and their aesthetic analysis found two characters. His poems were expressed by landscape substance like plants, natural and man-made elements. Their theme was confucian, peaceful and faithful seclusion.

• Journal of Korean Society of Forest Science
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• v.76 no.2
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• pp.138-144
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• 1987

This study discusses the concepts of landscape structure, landscape indices, interrelationships between indices, prediction of change in forest Landscape and forest management as a scenic resource, and other relevant problems. To illustrate the methods of national landscape interpretation, a case study was carried out for Ashinoko bridge in Fujihakoneizu National Park, Japan. Although the exact form of computer-generated landscape planning may vary, depending on the type of computers and users involved, users of these computer systems should be aware of problems that may be encountered when assessing the quality of computer perspectives without the aid of a detailed field survey. Nevertheless, it is expected that computer systems for analysis and management of forest landscape will become effective and economic tools to promote human health and provide more recreational opportunities in forest and national park planning.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.2
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• pp.61-67
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• 2018

Jens Jensen was an American landscape architect and early conservationist who pioneered a unique naturalistic landscape style. The purpose of the present study is to study Jensen's life, careers, design philosophy, and his contributions to the history of landscape architecture. Inspired by nature, Jensen worked closely with native plants, local materials, curvilineal and circular forms, and native scenery. His pioneering work in the Chicago's West Parks, including the design of Columbus Park and Humboldt, Garfield and Douglas Parks, was informed by his philosophical belief in the humanizing power of parks. In summary, first, Jensen played a prominent role in the creation of a unique native landscape style respecting regional landscape. Second, as a devoted conservationist and educator he organized conservation movements preserving landscape heritage and founded a education institution. Third, as a social reformer he emphasized the value of parks and nearby nature for urban citizens and children. Jensen's visions and philosophies have influenced on recent naturalistic landscape style and conservation efforts to preserve cultural landscape and natural environment.

• Journal of Korean Society of Transportation
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• v.22 no.4 s.75
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• pp.97-106
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• 2004

It is a Known fact that driving through long tunnel increases possibility of traffic accident because of psychological feeling of insecurity and dispersion of drivers' concentration since driving in narrow and limited space for a longtime. It, therefore, results in raising transportation and environment problems, such as traffic accident difficult to be properly dealt with and ventilation. This study aims at proposing a method of augmenting driving amenity by improving the internal lighting facilities in the tunnel. The study is conducted by investigating internal landscapes of tunnels by lighting colors, which are currently being operated. The Color Planning System (CPS), developed by SHARP Co. Ltd, is exploited for selecting adjective that express the sensitivity image on lighting colors. The CPS is an example that applies to sensitivity of human body for products design development. The CPS takes the following process to define the color : 1) expressing "Pvoduct's Image" as "A Word (adjective)" and 2) referring "A Word" to "Image Scale", and 3) determining the color through this "Image Panel". The study is processed by making a questionnaire using the semantic differential (SD) scale, grasping the consciousness structure of experimental persons through the Factor Analysis, and building a model in which dependent variable is "Degree of Preference" about internal landscape in tunnel using LISREL(LInear Structural RELations).

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.2
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• pp.43-57
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• 2013

The purpose of this study is to identify potential semantic landscape makeup of "the Forty Eight Poems of Soswaewon" according to Yin-Yang and Five Elements Principle(陰陽五行論). that speculation system between human's nature and cosmical universal order. Existing academic discussions made so far concerning this topic can be summed up as follows: 1. Among Yin-Yang-based landscape makeups of the Forty Eight Poems of Soswaewon, poetic writings for embodiment of interactions between nature and human behaviors focused on depicting dynamic aspects of a poetic narrator when he appreciates or explores hills and streams as of to live free from worldly cares. Primarily, many of those writings were created on the east and south primarily through assignment of yang. On the other hand, poetic writings for embodiment of nature and seasonal scenery - as static landscape makeup of yin - were often created on or near the north and west for many times. Those writings focusing on embodiment of nature and artificial scenery as a work are divided into two categories: One category refers to author Kim In-hu's expression of semantic landscape from seasonal scenery in nature. The other refers to his depiction of realistic garden images as they are. In the Forty Eight Poems of Soswaewon, the poetic writings show that author Kim focused on embodying seasonal scenery rather than expressing human behaviors. In addition, both Poem No. 1 and Poem No. 48(last poem; titled 'Jangwon Jeyeong') were created in a same place, which author Kim sought to understand the place as a space of beginning and end where yin and yang - i.e. the principle of natural cycle - are inherent. 2. According to construction about landscape in the Forty Eight Poems of Soswaewon on the basis of Ohaeng-ron (five natural element principle), it was found that tree(木) and fire(火) are typical examples of a world combined by emanation. First, many of poetic writings depicting the sentiments of tree focused on embodying seasonal scenery and were located in the place of Ogogmun(五曲門) area in the east, from overall perspective of Soswaewon. The content of these poems shows generation and curve / straightness in flexibility and simplicity. Many of poems depicting the sentiments of fire(火) focused on embodying human behaviors, and they were created in Aeyangdan area on the south of Soswaewon over which sun rises at noon. These poems are all on a status of side movement that is characterized by emanation and ascension which belong to attributes of yang. 3. With regard to Ohaeng-ron's interpretation about landscape in the Forty Eight Poems of Soswaewon, it was found that metal(金) and water(水) are typical examples of world combined by convergence. First, it was found that all of poems depicting sentiments of metal focused on embodying seasonal scenery, and were created in a bamboo grove area on the west from overall perspective of Soswaewon. They represent scenery of autumn among 4 seasons to symbolize faithfulness vested in a man of virtue(seonbi) with integrity and righteousness. Poems depicting sentiments of water were created in vicinity of Jewoldang on the north, possibly topmost of Soswaewon. They were divided into two categories: One category refers to poems embodying actions of welcoming the first full moon deep in the night after sunset, and the other refers to poems embodying natural scenery of snowscape. All of those poems focused on expressing any atmosphere of turning into yin via convergence. 4. With regard to Ohaeng-ron's interpretation of landscape in the Forty Eight Poems of Soswaewon, it was found that poems depicting sentiments of earth(土), a complex body of convergence and emanation, were created in vicinity of mountain stream around Gwangpunggak which is located in the center of Soswaewon. These poems focused on carrying actions of author Kim by way of natural phenomena and artificial scenery.

• KSCE Journal of Civil and Environmental Engineering Research
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• v.32 no.6A
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• pp.355-367
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• 2012

Many of old aqueduct bridges located in rural areas are in need of repair and redesign. They still occupy some portion of countryside landscaping. However, most of them were designed to fulfill their basic functions of carrying waters, which has not contributed to the landscape positively. Moreover, it is not rational to treat each design case of aqueduct bridges individually because they are relatively small in size and arranged continuously over a long path. Therefore, it is better to provide a design guideline to repair or to redesign old aqueduct bridges as a whole considering both structural safety and landscape. The main objective is to develop a framework to repair and redesign of old aqueduct bridges for safety improvement and better landscape. Specifically this paper will address the development of possible design alternatives for repair and redesign The development of design alternatives for redesign will follow general principle of bridge aesthetics and be represented according to structural system, flume shape, pier height, pier shape in terms of design parameters while minor repair includes paintings and other ornamentations. And the developed design alternatives will be reviewed with its landscape as a background to check the visual compatibility within the community context. It is expected that the proposed guideline will be utilized to develop a maintenance plan to revitalize old aqueduct bridges to improve overall landscape of rural areas.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.37 no.3
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• pp.49-61
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• 2019

This study aims to examine the spatial recognition of the characters who visited Anuisamdong(安義三洞) in the past and left it in the literature. Thus, the school's relationship between people identified in the relevant literature was analyzed and the elements of landscape were extracted. The results were as follows; First, The figures who authored the literature on Anuisamdong were related to scholars living in Anuihyun(安義縣), along with the Yeongnam confucian genealogy. Starting with Jung, Yeo-Chang(鄭汝昌) in the 15th century, a relationship centered on Nammyeong School(南溟學派) in the 16th century was formed. At that time, people had toured the Anuisamdong regardless of the academic background. In the 17th century, Nammyeong School were in conflict with Toegye School(退溪學派), so Toegye School's influence had no record. In the 18th century, the proportion of Nammyeong School, Toegye School, and Kiho School(畿湖學派) appeared similar as they evolved into the Yeongnam School(嶺南學派). After the 19th century, the proportion of patriots who participated in the anti-Japanese movement was higher than that of schools. Second, The main places used in the literature related to Anuisamdongwere the order of Wonhakdong(猿鶴洞), Hwrimdong(花林洞) and Simjindong(尋眞洞). There are a total of 21 major elements used for the related literature, of which Suseungdae Rock(搜勝臺), Morijae House(某里齋), Nongwaljeong Pavilion(弄月亭), Sasundae Rock(四仙臺) and Cheoksuam Rock(滌愁巖) were the main subjects. Elements of Wonhakdong have been in the spotlight since the 16th century, focusing on Suseungdae Rock. Although the elements of Hwarimdong have been increasing gradually since the 18th century, the ratio of Simjindong to Wonhakdong and Hwarimdong was relatively small. Third, The relationship between the figures who visited the Anuisamdong and the spatial recognition of the Anuisamdong was divided into landscape awareness, emotional awareness and symbolic recognition. The Anuisamdong's scenic view is mostly identified by its description of the waterscape and topographical landscape, which people may have perceived as a scenic site centered on the valley view at the time. The mutual influence of Nammyeong School and Toegye School in the 16th and 17th centuries led to a scene in which the major figures of each school recognized pleasure as a culture of training, and a feeling of longing for the traces of past ancestors as the 18th century travel culture and the 19th century chaotic situation. In addition, the symbolic expression that usually appears is likely to have been recognized as a unworldly place, as the location of the immortal world is confirmed.

• Korean Journal of Heritage: History & Science
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• v.45 no.1
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• pp.190-217
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• 2012

This research has studied the building awareness of Nu-Jeong that a view of nature and aesthetic consciousness to unite the nature are inherent by considering Nu-Jeong of scholars who left fame and wealth behind and retired to hermitage in the backwoods in the 16~18 Century. This is to clarify correlation with leaving nature as it is, namely, an ideal state that scholars at the time would enjoy, through landscape awareness accepted into Nu-Jeong literature. In addition, this research has tracked the ideologic flow that acts on space formation by clarifying Korean unique meanings inherent to Nu-Jeong's cultural landscape. As a suggestion for this, the interpretation through 'Pungsu location Nu-Jeong name's analysis Nu-Jeong literature analysis', etc. was tried, so its integrated conclusion is as follows. It is not a chance that scholars of Joseon have left numerous literature works singing the nature. They already had huge interest and knowledge on the nature, and achieved active poetic exchange by sublimating the praise of nature as literature. Nu-Jeong, which was a place of exchange like this, had cleanliness of the nature and ideological purity as an oppositional space on turbid political realities. The Nu-Jeong literature drew the nature into a literature space as it is, without doing abstraction or ideation on the nature. The owner of Nu-Jeong exclusively possessed such natural landscape in grim and independent postures, so it provided a clue of Nu-Jeong cultural landscape that this research aimed to discuss. Scholars who aimed to raise wide and large vigor filled in between the sky and earth got to convince that people are born from the nature, grow in the nature and finally return to the nature. What people are born from the nature and finally return to the nature is just consistent with Taoistic and Zhua-ngzi thoughts denying human work, and leaving nature as it is or nature itself remained intact which is an ideal state. The construction at the time is a vessel containing the spirit of the times of the era. This thesis has proved that the Nu-Jeong culture of scholars located on the central line of Korean landscape was the flower of Joseon's scholar culture by interpreting it semantically.