• Journal of the Korean Institute of Landscape Architecture
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• v.23 no.1
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• pp.7-22
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• 1995

Philosophers Of aeBthetics have tended to limit their Suhject to include only objects Of art. In contrast to art objects, landscapes include elements of both art and nature, and the aesthetic experiences of landscape are ordinarty ones. Thus, the theoretical alternatives, that cannot be like the traditional aesthetic dogma of art, must be explored. Jay Appleton's theory is the firsts attempt to develop a comprehensive theory of landscape aesthetics. He concentrates on the question 'what do we like about landscape and why do we like it ' He takes the assumption that the aesthetic experience of landscape is pleasurable or satisfying, and suggests the biologically oriented theory, called 'prospect-refuge theory.'Although his theory is stimulating and highly speculative, it depends on the 'aesthetic attitude' theory of Kantian thought. His theory can be criticized for its biologically deterministic nature and its reductionism To respond to Appleton's shortcomings, that is, to resolve the conflict between biological and cultural explanations of aesthetic experience of landscape, Steven Bourassa tries to combine biological, cultural, and personal modes in a comprehensive paradigm for research in landscape aesthetics. This tripartite paradigm seems to promise to be meaningful if helping to pose important questions as well as in. avoiding conceptual errors about aesthetic domain of landscape. However, Bourassa's theory fails to integrate such three separate kinds of moder In the final analysis both Appleton and Bourassa present same succeases in expanding the scope of aesthetics to embrace landscape. Most important for a theory in landscape aesthetics must be its ability to enlarge our awareness of the aesthetic domain and its sound logic and evidence to criticize our problematic beliefs about he aesthetic idea of landscape.

• Journal of the Korean Institute of Landscape Architecture
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• v.25 no.4
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• pp.61-81
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• 1998

This paper is to explore a new planning paradigm for urban landscape-not a new paradigm for urban landscape planning- in the light of environmental aesthetics. This is an endeavor to construct an alternative to the philosophical absence in the landscape profession. The landscape has been conceived of visual -oriented urban scene, and this notion is one of consequences of subject-object dualism in Western modernity project. In contrast with this convention, the authors consider urban landscape as the aesthetic field in which an experience of urban landscape actually works in human ordinary life and experience. To acquire an aestetic experience in this aesthetic field, we need to replace the doctrine of disinterestedness with engagement and contemplation with participation. This concept of participatory engagement with landscape can be translated in specific and concrete ways into urban landscape planning, replacing the traditional panoramic landscape with engaged landscape. The authors approach the urban landscape from the vantage point of an aesthetics of engagement by developing the four environmental situations : the sailing ship, the circus, the cathedral, and the sunset. They may serve as useful guides in cultivating and beautiful urban landscape to replace the forces of vulgarity and monotony that depress the modern city. What is beautiful urban landscape\ulcorner What makes the urban landscape beautiful\ulcorner Finally, the authors suggest identity and amenity as practical concepts of urban landscape planning for an aesthetic experience.

• Journal of the Korean Institute of Landscape Architecture
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• v.45 no.3
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• pp.129-140
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• 2017

This study aims to interpret the current landscape design of the place and landscape of memory, such as post-industrial parks and memorials that have an old, aging appearance from an aesthetic perspective. The objects of the study are large parks and open spaces that have collective memories for visitors. Visitors' aesthetic experience from these places and landscapes of memory could be explained by aesthetic concepts such as the sublime, nostalgia, and melancholy. Because these aesthetic concepts are associated with past traumas, visitors may be affected morbidly. However, due to the capability of the media to form an aesthetic experience when visitors visit a given place and landscape, visitors can autonomously adjust the distance to the place of memory and gain an aesthetic experience. The aesthetic experiences through the sublime, nostalgia, and melancholy are based on temporality and irreversibility. Temporality here refers to a characteristic of memory, and time in the place and landscape of memory and is based on the irreversibility of time, as time cannot go back. Both the place memory and the memory that is recalled from the combination with visitor's past memories and knowledge are two major factors involved in the construction of the aesthetic experience in the place and landscape of memory. The results of the present study are meaningful in that this study presents a framework for a better understanding and use of both the place memory and appreciators' memory in the design process of a place and landscape of memory and also criticizes a materialistic approach that fails to take into account the visitors' memories.

• Archives of design research
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• v.14 no.4
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• pp.15-24
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• 2001

If environmental aesthetics contains the whole area of grand beauty of nature and the meaning of the urban landscape, the urban landscape is defined 'fine view of urban, or beautiful sight' therefore, we must look for the wary to introduce and solve the aesthetic problem with a new paradym of the urban landscape. Such environmental aesthetics as to seek a new planning for the urban landscape can provide a new meaning for urban environment design by extracting design elements of street furniture resulted form aesthetic evaluation in context of formation aesthetics to review the aesthetic value and substance, and explain aesthetic experience, and explain aesthetic experience of urban the landscape.

• Journal of the Korean Institute of Landscape Architecture
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• v.40 no.4
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• pp.78-89
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• 2012

This study aimed to interpret aesthetic properties of post-industrial parks with a perspective of the sublime. It examined the roles of the sublime related to landscape architectural history and traced aesthetic characteristics of post-industrial parks based on aesthetic issues of the sublime. In the history of landscape architecture, the sublime had expanded the scope of aesthetic enjoyment. It had operated as an alternative aesthetic category against conventional landscape design. At the same time, it had been associated with the original role of landscape architecture, which created artworks by taming wild and terrible qualities of wilderness or brown field. This study discovered sublime characteristics of post-industrial parks, inquiring into the relationship between the aged industrial infrastructures and wild plants. First, the sense of industrial structure and the sense of plants have conflict dialectically, constructing an aesthetic field of unique sensory experiences. Second, the dialectical relationship produced an uncertainty in time so that people can experience the complexity of time. Third, post-industrial parks proposed an alternative view of nature. Post-industrial parks presented healing power to restore contaminated land through ecological design strategy so that people can find the quality of wilderness in the brown field of urban landscape. As a result, an aesthetic experience of post-industrial parks produced a sublime impression.

• Journal of the Korean Institute of Landscape Architecture
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• v.37 no.4
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• pp.22-31
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• 2009

In this study a landscape evaluation was carried out for the submission of a natural landscape conservation plan with the intention to prevent damage to natural landscapes through incautious exploitation. In the case of Korean landscape evaluation, in fact, only the aesthetic value of the landscape is evaluated as related to development projects but the ecological relevance of the landscape cannot be estimated by evaluating only the aesthetic. For that reason, this study performed a landscape evaluation, including the sensitivity limit of visible scenery and the diversity of ecological scenery. For the intention of landscape evaluation in the designation of an essential conservation area and for devising a plan related to this area, a GIS applied to Ian McHarg's map overlay method was used and both the ecological landscape diversity and the aesthetic value of the landscape was surveyed using this map overlay method. A region can be analyzed in relation to the needs for concentration of management in influence analysis of landscape effect elements.

• Journal of Environmental Impact Assessment
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• v.12 no.5
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• pp.369-382
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• 2003

Natural resources managers have considered the landscape without detailed consideration of aesthetic values of the landscape and geomorphological significance of unique landforms. Since EIA system was introduced in 1981, values associated with landscape protection have been neglected at best compared with those values traditionally attributed to environmental protection, including clean air, water quality and species protection. Black top highways are being built without consideration of harmful effects to the sea cliffs. Sea walls and tetrapod are being installed to protect the coastal towns and fish markets for tourist. However, beach itself are experiencing accelerated erosion due to the shortage of proper coastal engineering expertise. Hotels and condominiums are under construction on a massive scale around the national parks, which substitute the scenic ridges with concrete profiles. To protect the scenic beauty of national parks, their design and construction material should be more harmonious with the surroundings. Therefore, visual impact assessment should be applied both within the national park boundary and beyond to enhance the aesthetic values of national parks.

• Journal of the Korean Institute of Landscape Architecture
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• v.24 no.3
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• pp.79-95
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• 1996

The traditional gardens of China were constructed on the basis of the common aesthetic consciousness between designers and users. As designers and users communicated each other through the medium of garden, they give suggestions to our design and appreciation of modern landscape architecture. The traditional gardens of China pursued to reach the state of Yi Jing(意境), and this state formed the keynote of the whole field of Chinese culture. Yi Jing is the aesthetic theory originated in Pre-Qin Era, and established in Tang-Dynasty. After this, this theory become the very important aesthetic category of Chinese aesthetics. Yi Jing is the process from conception to appreciation, and requires the three parts of designer, a work of art, and appreciator. To reach Yi Jing, designers must be well grounded and persevere in their efforts. They also had to have the ability of corresponding the inner order of environment and landscape, and expressing their own feelings and emotions into gardens. So ultimately, they were in pursuit of constructing the gardens as if something naturally created. The garden itself is the meeting place of designers and users. The space in which users can think of life, nature, history, and cosmos. In order to do this, designers design the real landscape and non-visual landscape. This design can give appreciators more fertile imagination. Appreciation perfects the Yi Jing of gardens. Yi Jing is created by co-work of artist and appreciator with common aesthetic consciousness and sense. Therefore, it is subjective, and it may be vary with man and time.

• Journal of the Korean Society of Environmental Restoration Technology
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• v.17 no.1
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• pp.65-79
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• 2014

This study selected Nakdong River basin zone in Daegu as an example area to conduct landscapetope classification and aesthetic value assessment of landscape according to the classified landscapetope. The main result of this research can be summed up as following. First, the result of landscapetope type classification showed 28 types of landscapetope including complex residential area (AA), natural stream type with copious vegetation (BA), forest type centered on mixed forest of soft and hardwood (EB) along with 129 types of imputed specific landscapetope. The result of the total first assessment using B-VAT showed the first grade 10 types, II grade 4 types, III grade6 types, IV grade 3 types, 5 types for V grade with the lowest value. The second assessment conducted toward the landscapetope types with the grade higher than the average (including III grade) in the result of the first assessment showed that there are 66 spaces for the sites (1a, 1b) with special meaning for aesthetic landscape evaluation. And also, there were 69 spaces for those (2a, 2b, 2c) with meaning for aesthetic landscape evaluation. The design model of this research is largely divided into improvement goal and specific execution plan. First, the improvement goal is divided into 6 categories including conservation area, complementary area, and restoration area, and the specific execution plan is divided into 14 categories including special landscape management area, general landscape management area, conservation of hill areas with optically good condition. A comprehensive master plan was suggested by directly applying the set landscape planning model to the subject place of this research.

• Journal of the Korean Institute of Landscape Architecture
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• v.35 no.4
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• pp.48-56
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• 2007

This study was to understand the component that affects the formative beauty and to present the direction of bridge design for improving the image of urban landscape to survey the visual effect and landscape Preference by the change of bridge type. The results of this study are as follows. In the results of image analysis by bridge types, the images of one-arch bridges are unique and interesting, whereas more than two successive arched bridge were harmonize, stable, consecutive and regular. In the case of the arch rib, braced-rib arch bridge was assessed that complicated, diverse and interesting more than solid-rib arch bridge. The results of factor analysis on the psychological factor were classified into three categories: orderliness, aesthetic and symbolism. In the results of analysis on psychological factors by bridge types, the orderliness and symbolism were different in the position of path, and the number of arches, too. In case of arch rib, symbolism was different. In the preference analysis, they showed a sensitive reaction in the background of building. In the results of the relativity preference and psychological factor, according to aesthetic, symbolism and orderliness, there was an effect on the background of building. And, there showed the high effect in order of aesthetic, orderliness and symbolism in the background of mountain and building. This study should be objective raw data of the arch bridge design for improving the urban landscape. In the future, aesthetic variables like colors or textures should be considered for more exact evaluation.