• Proceedings of the Plant Resources Society of Korea Conference
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• 2011.10a
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• pp.17-17
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• 2011

본 연구는 지역이 가지고 있는 중요한 자원을 자연 생태적 요소, 역사 문화적 요소, 시각 환경적 요소 등으로 분류한 후 충남지역 16개 시 군을 대상으로 군의 상징적 요소로서 가치 있는 자원의 발굴과 동시에 개발에 밀려 점점 사라져가는 농산어촌 대표경관의 추출을 통해 자원의 중요성을 AHP(계층 분석적 의사 결정기법)모델을 통해 분석하여 상호 중요도를 파악하고자 한다. 이러한 연구를 통해 지역의 대표적인 상징적 요소와 경관적 요소의 상관성을 파악함과 동시에 중요도에 따라 순위(ranking ordering)를 결정함으로서 지역의 정체성(identity)을 확보하고, 향후 보전할 자원의 특성을 파악함으로써 지역의 문화적, 환경적, 생태적 자원가치의 패러다임을 구축하고자 한다. 연구방법은 1차적으로 문헌조사를 통한 지역의 자원특성에 대한 분류체계를 설정한 후 전문가 집단을 선정하여 설문조사를 통한 통계적 분석방법을 사용하고자 한다. 전문가 집단은 지역에 대한 비교적 잘 파악하고 있는 지역전문가(관련대학 교수, 공무원, 연구원 등)로 구성하였으며, 1, 2차 설문을 통한 상징성 및 대표경관자원을 최종적으로 선정한 후, 3차 설문에서는 농촌 및 경관관련 전문가 집단을 재선정하여 AHP(계층 분석적 의사결정)기법을 통한 자원의 중요도를 파악하고자 한다. 분석방법은 자료의 계량적 분석을 위해 통계프로그램인 SPSS 12.0 for Windows와 도출된 상징요소의 가중치를 파악하기 위해 AHP 프로그램인 ExpertChoice 2006을 사용하여 도출된 상징요소의 가중치별 순위를 측정하여 분석의 과학성, 논리성, 타당성을 확보하고자 한다.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.4
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• pp.61-72
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• 2014

Throughout analyzing and construing the words, contexts, and expressive languages used for depicting the pine tree in the novel "Honbul" written by Choi, Myung-Hee the symbolism of the pine and folksy languages used for scenery can be condensed as written below: First, it is explicit that the scenery-words for illustrating the pine tree in "Honbul" are emerged through diverse means methods and expressions. Namely, the reference forms of the pine tree and the expressive means of utilizing words portrays the use of the pine are various and subdivided. Second, the scenery-words found in vocabularies and the contexts of "Honbul" imply various symbolic representation. They not only perform to describe inherent image and symbolism of the pine, but they work for reifying the image of "Honbul" in the narrative structure in "Honbul" as being intrinsic scenery-word. Third, the scenery-words used for expressing aesthetics emerge as synesthetic expressions through the linear beauty and the texture of the pine as well as through five-senses. Forth, on the basis of the inherent symbolism and the image of the pine, the landscape of the background described in "Honbul" deems as a symbolic backdrop. As with then narrative structure of the novel, the pine tree performs as a mediation of the heaven and the earth, god and man, as well as the sacred and the secular. Fifth, scenery-words used for depicting the pine tree are a symbol that represents the spirit and emotion of the character in the novel. Moreover, it is a tool for pursuing the personification of the nature, the deification of the object, and the cosmos of the space. It is also utilized as a device that definitize the ideational image applied to express the landscape of the background of the novel. As mentioned above, the expressions, vocabularies and textures about pine tree represented from "Honbul" are expected to be the beginning of understanding the landscape-images and landscape-languages of pine in not only the setting for this novels, Namwon but also the entire districts of Korea.

• Proceedings of the KGS Conference
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• 2003.11a
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• pp.157-162
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• 2003

읍치 경관이란 조선시대 관아가 있던 지방 행정 중심지 읍의 경관이다. 우리는 조선시대가 추구했던 세계관과 사회질서, 그리고 인간과 자연간의 관계가 어떠해야 한다는 것이 조선시대 읍치 경관에 명시적으로, 때로는 함축적 상징적으로 표현되어 있다고 보고 그 의미를 해독하고자 한다. 읍치의 경관과 경관 요소, 즉 입지와 주위 산과 하천의 조화, 그리고 숲을 중심으로 한 반 인공적 환경구성, 그리고 관아 건물 둥 주요 시설의 구축과 배열 및 제사 시설의 공간 분포 등은 동일한 군ㆍ현이 하나도 없을 만큼 고유하다. (중략)

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.3
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• pp.96-109
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• 2014

The purpose of this study is to sort out the plants in "The Book of Songs", and to analyze the cultural significance of plants from the viewpoint of the symbolic elements and the landscape elements in the 3~11 century BC. The conclusions are as follows. First, there were 147 plant names and 136 plant species in "The Book of Songs", and these results can confirm that the plants were existed in the 3~11 century BC. Second, through analyzing the cultural significance of the plants, cattail, lotus, etc. are the symbol of lovers; peony and willow are the symbol of farewell; bamboo is the symbol of gentleman; and Japanese pepper is the symbol of fecundity. Third, at the viewpoint of the landscape elements, the poplar, dwarf elm, etc. can be used as a place of affection; reed and nepenthe can make a place of melancholy, hazel and chestnut tree, etc. can make a place of power and position, celery and water shield etc. can be used as a place of knowledge. Based on the research of "The Book of Songs", it can help to understand the plants culture in 3~11 century BC, and it will be a useful information for the plant design.

• Journal of the Korean Institute of Landscape Architecture
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• v.46 no.4
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• pp.21-35
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• 2018

In recent years, there has been a tendency to reuse 'landscapes of memory,' including industrial heritages, modern cultural heritages, and post-industrial parks, as public spaces in many cities. Among the various types of landscapes, 'modern historic landscapes', which were formed in the 19th and 20th centuries, are landscapes where the debate between conservation and removal is most frequent, according to the change of evaluation and recognition of modern history. This study examines conflicts between conservation and removal around modern historic landscapes and explores the value judgment criteria and the process of formation of those landscapes, as highlighted in the case of the demolition controversy of the old Japanese general government building in Seoul, which was dismantled in 1995. First, this study reviews newspaper articles, television news and debate programs from 1980-1999 and some articles related to the controversy of the Japanese general government building. Then it draws the following six factors as the main issues of the demolition controversy of the building: symbolic location, discoveries and responses of new historical facts, reaction and intervention of a related country, financial conditions, function and usage of the landscape, changes of urban, historical and architectural policies. Based on these issues, this study examines the conflicts between symbolic values that play an important role in the formation of modern historic landscapes and determines conservation or removal, and the utility of functional values that solve the problems and respond to criticisms that arise in the process of forming the modern historic landscape. Especially, it is noted that the most important factor that makes the decision is the symbolic values, although the determination of the conservation or removal of modern historic landscapes has changed according to changes in historical perceptions of modern history. Today, the modern historic landscape is an important site for urban design, and still has historical issues to be agreed upon and addressed. Thi study has contemporary significance from the point that it divides the many values of modern historic landscapes into symbolic values and functional values, evaluates these, and reviews the background social context.

• Journal of the Korean association of regional geographers
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• v.14 no.1
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• pp.68-83
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• 2008

The transferal of districts encircled with walls and the characteristics of newly formed districts' location, structure and view are analyzed in this study with an example of Nakan Eupseong in Suncheon, Jeolla-do, which shows the best case of restoration of districts and interior structures to the original state of those in Joseon Dynasty. The results can be summarized as following: First of all, the district of Nakan-gun has transferred in 1424 from today's Goeup-ri in Beolgyo-eup, Boseong-gun to Nakan Eupseong in Nakan-myeon, Suncheon-si. Secondarily, Nakan Eupseong, the newly formed district, followed the example of Hanyang, the capital city, almost exactly in location, structure, view, and etc, due to the drastically planned designs under the participation of the central government. Thirdly, the native forces of Nakan wanted to deny the new district till 1451, and the inertia of old district had strongly remained until the late 1400's. Last of all, Joseon dynasty's typical theory of divination based on topography was clearly systemized and stated in the materials written after the 1700's.

• Proceedings of the Korean Institute of Landscape Architecture Conference
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• 2017.10a
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• pp.45-47
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• 2017

근대 사회로 진입을 시도하면서 서양의 근대 문물이 국내로 쏟아져 들어오게 되었다. 그 중 전등은 고종의 필요에 의해 빠르게 도입되면서 서울의 경관을 근대적으로 이행시켰다. 전등으로 인한 야간경관은 도시의 시공간적 변화를 모두 지니는 경관으로 근대도시를 이해하는 데 중요하다. 이 연구는 서울 최초의 근대적 야간경관의 형성 과정을 추적하고자 했다. 한국에서 전등이 가장 먼저 설치된 곳은 1887년 경복궁의 건청궁이었다. 하지만 고종이라는 특정 인물을 위해 만들어졌다는 점에서 일면 중세적인 성격을 지닌 경관이라 할 수 있다. 궁궐에서만 사용되었던 전등이 민간인에게까지 전파된 데에는 전차 부설이 중요한 역할을 한다. 당시 사람들에게 전차는 부국강병의 지표이자 개화된 사회의 상징이었다. 전차의 이용객이 늘어나게 되면서 운행시간은 22시까지 연장되었다. 이때 전차의 야간운행은 1900년 종로 보신각에 가로등을 설치하는 계기가 된다. 종로 가로등은 민간이 볼 수 는 최초의 근대적 야간경관이다. 종로 야간경관은 일반 백성들이 쉽게 볼 수 있었으며 당시 백성의 상권을 위하여 조성되었다는 점에서 진정한 의미에서 최초의 근대적 야간경관이라 할 수 있다.

• Proceedings of the Korean Institute of Landscape Architecture Conference
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• 2012.03a
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• pp.121-124
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• 2012

• 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.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.1
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• pp.27-37
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• 2010

This study tries to illuminate the features and values of the Buddhist temple Palkyung by closely examining the forms, structures, and meanings of Tongdo-palkyung(通度八景) handed down at Tongdosa Temple, the best among Korea's Buddhist temples with its three treasures of Buddha, law of Buddha and Buddhist monks. The findings of this study can be summarized as the following. First of all, it reveals the meaning of the geographical name Yeongchuksan(靈鷲山), located to the west of Tongdosa, and a spectacular sight spread like an eagle's spread wings, as well as its location and spatial features. In particular, the arrangement features of a number of attached hermitages clearly show Yeongchuksan's world as being a temple with buddhist treasures. The multi-layered unfolding and centripetal intention of the scenery can be perceived through the shape of the Sshangryongnongju(雙龍弄珠形), around Tongdosa and the feature of the enclosed landscape encircling the steps of Hyeolcheo(穴處) Geumganggyedan. The substances and components of Tongdopalkyung include sound-based spectacles derived from Beoneumgu(梵音具) creating sounds related to religious rituals to enlighten and redeem mankind, such as Yeongji(影池: a holy pond with shadow reflections), drum sounds, and bell sounds along with physical features like pine trees, Dae(臺), waterfalls, Dongcheon (洞天), and a glow in the sky. On the other hand, Palkyung's geographical arrangements exhibit a circular spatial formation based on the main motif as Buddhist symbolism, beginning with the 'Gukjangsangseokpyo(國長生石標)' awakening the territoriality of Tongdosa and locating the first scene 'Mupunghansong(舞風寒松)' in its introductory area, with the features of water, bridge, pine grove, and Iljumun(gate) to stand for the influx. Six other scenes including 'Anyangdongdae(安養東臺)' are placed in the sacred precincts around Daeungjeon and Geumganggyedan while the glow of sunset at 'Danjoseong' just outside the domain closes the symbolic circular formation of the Tongdopalkyung, which coincides with the development of the Mandala figure symbolizing 'Gusanpalhae(九山八海)' centered in Sumisan(須彌山). What is more, Tongdopalkyung, while excluding primary scenic elements inside the temple, maximizes the domain of the mountain's entrance and the effects of the multi-layered mountain, mountain upon mountain, by intensifying the influx and centripetal qualities. The Tongdopalkyung analysis reveals the antithesis of four-coupled scenes conveying buddhist principles and thoughts on the basis of seasons, directions, space and time to display a narrative structural landscape when viewed from the temple's territoriality. Likewise, the characteristics and porch structures of Tongdopalkyung are tools and language of symbols to both externally strengthen the temple's territoriality and to internally, maximize the desires to the Land of Happiness as well as intensify religious wishes and the Mandala's multi-layered qualities through the meanings of time and space.