• Journal of the Korean Institute of Landscape Architecture
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• v.40 no.6
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• pp.173-179
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• 2012

The experiments, which analyze the injury symptoms and diagnose growth conditions utilizing IRVT and analyzing each parts of H. helix L., had been held under a low temperature. Greenhouse and outdoor growing Genus hedera had been prepared and compared with each Genus hedera's peak and bottom leaves' surface temperature under the experimental categories $-6^{\circ}C$ and $-12^{\circ}C$. As results, analyzing the surface thermal property of peak part leaves' of outdoor growing Genus hedera, at experimental categories $-6^{\circ}C$, $-12^{\circ}C$ were ranged from $-2^{\circ}C{\sim}-7^{\circ}C$ and $-2^{\circ}C{\sim}-15^{\circ}C$. On the other hand, the surface thermal property of bottom part leaves at experimental categories $-6^{\circ}C$, $-12^{\circ}C$ were ranged $-2^{\circ}C{\sim}-11^{\circ}C$ and $-1^{\circ}C{\sim}-12^{\circ}C$. It appears that the thermal properties of leaves' surface on $-6^{\circ}C$ peaks and $-12^{\circ}C$ bottoms were more broadband than bottoms and peaks. It means that the peaks were more sensitive than bottoms, as like $-2^{\circ}C{\sim}-15^{\circ}C$, $-1{\sim}-12^{\circ}C$. Moreover, as similar results had seen to leaves surface temperature added to cold wind conditions. How the cold wind damaged the outdoor growing Genus hedera, analyzed the surface thermal property by IRVT data under $0^{\circ}C$, $-2^{\circ}C$, $-4^{\circ}C$ condition, it resulted to $-6.2^{\circ}C$, $-6.8^{\circ}C$, $-7.5^{\circ}C$. It appeared more $3.5{\sim}6.2^{\circ}C$ low temperature than experimental setting point. In addition, each parts thurmal property of peaks and bottoms was not similar, it referred to each parts' sensitivities of low temperature were different on the peak and bottom leaves surface temperature.

• MISULJARYO - National Museum of Korea Art Journal
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• v.96
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• pp.18-53
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• 2019

The paintings Gyeongpodae Pavilion and Chongseokjeong Pavilion were recently donated to the National Museum of Korea and unveiled to the public for the first time at the 2019 special exhibition "Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea." These two paintings carry significant implications for understanding Joseon art history. Because the fact that they were components of a folding screen produced after a sightseeing tour of the Gwandong regions in 1557 has led to a broadening of our understanding of sixteenth-century landscape painting. This paper explores the art historical meanings of Gyeongpodae Pavilion and Chongseokjeong Pavilion by examining the contents in the two paintings, dating them, analyzing their stylistic characteristics, and comparing them with other works. The production background of Gyeongpodae Pavilion and Chongseokjeong Pavilion can be found in the colophon of Chongseokjeong Pavilion. According to this writing, Sangsanilro, who is presumed to be Park Chung-gan (?-1601) in this paper, and Hong Yeon(?~?) went sightseeing around Geumgangsan Mountain (or Pungaksan Mountain) and the Gwandong region in the spring of 1557, wrote a travelogue, and after some time produced a folding screen depicting several famous scenic spots that they visited. Hong Yeon, whose courtesy name was Deokwon, passed the special civil examination in 1551 and has a record of being active until 1584. Park Chung-gan, whose pen name was Namae, reported the treason of Jeong Yeo-rip in 1589. In recognition of this meritorious deed, he was promoted to the position of Deputy Minister of the Ministry of Punishments, rewarded with the title of first-grade pyeongnan gongsin(meritorious subject who resolved difficulties), and raised to Lord of Sangsan. Based on the colophon to Chongseokjeong Pavilion, I suggest that the two paintings Gyeongpodae Pavilion and Chongseokjeong Pavilion were painted in the late sixteenth century, more specifically after 1557 when Park Chung-gan and Hong Yeon went on their sightseeing trip and after 1571 when Park, who wrote the colophon, was in his 50s or over. The painting style used in depicting the landscapes corresponds to that of the late sixteenth century. The colophon further states that Gyeongpodae Pavilion and Chongseokjeong Pavilion were two paintings of a folding screen. Chongseokjeong Pavilion with its colophon is thought to have been the final panel of this screen. The composition of Gyeongpodae Pavilion recalls the onesided three-layered composition often used in early Joseon landscape paintings in the style of An Gyeon. However, unlike such landscape paintings in the An Gyeon style, Gyeongpodae Pavilion positions and depicts the scenery in a realistic manner. Moreover, diverse perspectives, including a diagonal bird's-eye perspective and frontal perspective, are employed in Gyeongpodae Pavilion to effectively depict the relations among several natural features and the characteristics of the real scenery around Gyeongpodae Pavilion. The shapes of the mountains and the use of moss dots can be also found in Welcoming an Imperial Edict from China and Chinese Envoys at Uisungwan Lodge painted in 1557 and currently housed in the Kyujanggak Institute for Korean Studies at Seoul National University. Furthermore, the application of "cloud-head" texture strokes as well as the texture strokes with short lines and dots used in paintings in the An Gyeon style are transformed into a sense of realism. Compared to the composition of Gyeongpodae Pavilion, which recalls that of traditional Joseon early landscape painting, the composition of Chongseokjeong Pavilion is remarkably unconventional. Stone pillars lined up in layers with the tallest in the center form a triangle. A sense of space is created by dividing the painting into three planes(foreground, middle-ground, and background) and placing the stone pillars in the foreground, Saseonbong Peaks in the middle-ground, and Saseonjeong Pavilion on the cliff in the background. The Saseonbong Peaks in the center occupy an overwhelming proportion of the picture plane. However, the vertical stone pillars fail to form an organic relation and are segmented and flat. The painter of Chongseokjeong Pavilion had not yet developed a three-dimensional or natural spatial perception. The white lower and dark upper portions of the stone pillars emphasize their loftiness. The textures and cracks of the dense stone pillars were rendered by first applying light ink to the surfaces and then adding fine lines in dark ink. Here, the tip of the brush is pressed at an oblique angle and pulled down vertically, which shows an early stage of the development of axe-cut texture strokes. The contrast of black and white and use of vertical texture strokes signal the forthcoming trend toward the Zhe School painting style. Each and every contour and crack on the stone pillars is unique, which indicates an effort to accentuate their actual characteristics. The birds sitting above the stone pillars, waves, and the foam of breaking waves are all vividly described, not simply in repeated brushstrokes. The configuration of natural features shown in the above-mentioned Gyeongpodae Pavilion and Chongseokjeong Pavilion changes in other later paintings of the two scenic spots. In the Gyeongpodae Pavilion, Jukdo Island is depicted in the foreground, Gyeongpoho Lake in the middle-ground, and Gyeongpodae Pavilion and Odaesan Mountain in the background. This composition differs from the typical configuration of other Gyeongpodae Pavilion paintings from the eighteenth century that place Gyeongpodae Pavilion in the foreground and the sea in the upper section. In Chongseokjeong Pavilion, stone pillars are illustrated using a perspective viewing them from the sea, while other paintings depict them while facing upward toward the sea. These changes resulted from the established patterns of compositions used in Jeong Seon(1676~1759) and Kim Hong-do(1745~ after 1806)'s paintings of Gwandong regions. However, the configuration of the sixteenth-century Gyeongpodae Pavilion, which seemed to have no longer been used, was employed again in late Joseon folk paintings such as Gyeongpodae Pavilion in Gangneung. Famous scenic spots in the Gwandong region were painted from early on. According to historical records, they were created by several painters, including Kim Saeng(711~?) from the Goryeo Dynasty and An Gyeon(act. 15th C.) from the early Joseon period, either on a single scroll or over several panels of a folding screen or several leaves of an album. Although many records mention the production of paintings depicting sites around the Gwandong region, there are no other extant examples from this era beyond the paintings of Gyeongpodae Pavilion and Chongseokjeong Pavilion discussed in this paper. These two paintings are thought to be the earliest works depicting the Gwandong regions thus far. Moreover, they hold art historical significance in that they present information on the tradition of producing folding screens on the Gwandong region. In particular, based on the contents of the colophon written for Chongseokjeong Pavilion, the original folding screen is presumed to have consisted of eight panels. This proves that the convention of painting eight views of Gwangdong had been established by the late sixteenth century. All of the existing works mentioned as examples of sixteenth-century real scenery landscape painting show only partial elements of real scenery landscape painting since they were created as depictions of notable social gatherings or as a documentary painting for practical and/or official purposes. However, a primary objective of the paintings of Gyeongpodae Pavilion and Chongseokjeong Pavilion was to portray the ever-changing and striking nature of this real scenery. Moreover, Park Chung-gan wrote a colophon and added a poem on his admiration of the scenery he witnessed during his trip and ruminated over the true character of nature. Thus, unlike other previously known real-scenery landscape paintings, these two are of great significance as examples of real-scenery landscape paintings produced for the simple appreciation of nature. Gyeongpodae Pavilion and Chongseokjeong Pavilion are noteworthy in that they are the earliest remaining examples of the historical tradition of reflecting a sightseeing trip in painting accompanied by poetry. Furthermore, and most importantly, they broaden the understanding of Korean real-scenery landscape painting by presenting varied forms, compositions, and perspectives from sixteenth-century real-scenery landscape paintings that had formerly been unfound.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.39 no.4
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• pp.50-65
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• 2021

In this study, the water flow system by measuring the flow-way type and distance of flow path that composes the Gugok through literature survey, field survey, and map work on Gugok gardens in Korea whose existence has been confirmed, while investigating and analyzing watersheds, river orders, and river grades. It was intended to reveal the watershed distribution and stream morphological characteristics of the Gugok gardens and to use them as basic data for future enjoyment and conservation of the Gugok gardens. The conclusion of the study is as follows. First, Of the 93 Gugok gardens that have been confirmed to exist, it was found that 11 places(11.8%) were found to have a descending(top-down) type of Gugok that develops while descending along a stream. Second, As a result of analysis of the length of the flow path for each valley, Okryudonggugok(玉流洞九曲, Namsan-gugok) in Gimcheon, Gyeongsangbuk-do was found to have the shortest length of 0.44km among the surveyed valleys, while the flow distance of Muheulgugok(武屹九曲) located in Seongju-gun and Gimcheon-si, Gyeongsangbuk-do was 31.1km, showing the longest flowing distance. The average flow path length of the Gugok Garden in Korea was 6.24km, and the standard deviation was 4.63km, indicating that the deviation between the 'curved type'e and the 'valley type' was severe. In addition, 14(15.1%) Gugok gardens were found to be partially submerged due to dam construction. Third, As a result of analyzing the waters area where Gugok garden is located, the number of Nakdong river basins was much higher at 52 sites(55.9%), followed by the Hangang river basin at 27 sites(28.7%), the Geum river basin at 9 sites(9.7%), and the Yeongsan river and Seomjin river basins at 5(5.4%). Fourth, All Gugok gardens located in the Han river region were classified as the Han river system, and the Gugok garden located on the Nakdong river was classified as the main Nakdong river system, except for 7 places including 5 places in the Nakdong Gangnam Sea water system and 2 places in the Nakdong Gangdong sea water system. As a result of synthesizing the river order of the flow path where Gugok garden is located, Gugok, which uses the main stream as the base of Gugok, is 3 places in the Hangang water system, 5 places in the Nakdong river system, 2 places in the Geumgang water system, and 1 place in the Yeongsangam/Seomjin river system. A total of 11 locations(11.5%) were found, including 36 locations(38.2%) in the first branch, 29 locations(31.2%) in the second branch, and 16 locations(17.0%) in the third branch. And Gugok garden, located on the 4th tributary, was found to be Taehwa Five-gok(太華五曲) set in Yonghwacheon Stream in Cheorwon in the Han river system, and Hoenggyegok(橫溪九曲) in Yeongcheon Hoenggye Stream in the Nakdong river system. Fifth, As a result of the river grade analysis of the rivers located in the Gugok garden Forest, the grades of the rivers located in the Gugok garden were 13 national rivers(14.0%), 7 local first-class rivers(7.5%), and 74 local second-class rivers(78.5%) was shown.

• Journal of the Korean Institute of Landscape Architecture
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• v.45 no.4
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• pp.11-22
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• 2017

A plaza represents the identity of a city, and that reveals a plaza's importance. Gwanghwamun Plaza and Seoul Plaza are two representative plazas where the citizens can freely express their opinions. Many major plazas in the center of Seoul were built under the Japanese occupation. Among these, the plaza of Joseon Bank has different characteristics than Gwanghwamun Plaza and Seoul Plaza. Even though this plaza was built in the center of the commercial, administrational, and cultural district during the Japanese colonial period, the research on this plaza has been limited. This study was conducted to verify the features of this plaza by analyzing its construction and transformation during the Japanese colonial period. The study's results outline how the plaza was constructed by the Japanese administration. The intention of the government is shown by the fact that it purchased land parcels and held a design competition. In the 1910s, the government purchased seven parcels of land during the expansion of roads as the place for the plaza. During the late 1930s, the government accepted a traffic circle to regulate the traffic and eliminate the conflict between crossing movements. In 1939, a fountain was built in the plaza's center, and its design was selected through a design competition. It was planned as a square, but gradually turned into a rotary. Furthermore, the plaza was a landmark and symbol of the power and modernity of Japan. As the main modal point of public transportation, the plaza became surrounded with largescale Western-style buildings, commercial advertising, and neon signs. The plaza became a place where people could experience the modern city. These spectacular displays showed that Japanese imperialism was perceived as a strange and peculiar landscape to the majority of Korean citizens. This study investigates the history and characteristics of the plaza, focusing on its beginning as well as the transformation of its form. As to the limitations of the study, it does not consider political and economic contexts within the transformation of Seoul and in relation to this plaza. Instead, that research remains for a future study.

• Journal of the Korean Institute of Landscape Architecture
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• v.41 no.5
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• pp.19-27
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• 2013

This paper claims that the One Million-peyong Park(hereafter abbreviated as OMP) project is different from a typical citizen participatory park project by recognizing the exceptional leadership of the Civic Committee for the One Million-pyeong Park Construction(CCOMPC) in promoting and developing the OMP project. Since 2001 the CCOMPC has published a variety of written promotional materials to inform and educate the public about the project. In terms of approaching the promotional materials, this research focuses on the use of language on how the CCOMPC justifies the OMP project, namely the OMP justification discourse, and considers the discourse as a unique form of social document that represents the perspective of the CCOMPC in explaining the local environmental issues and values of urban parks to the public. Using a discourse analysis method, this research analyzes the justification discourses and investigates how they changed over the three main development phases of the OMP: the initiation and preliminary development phase(1999-2001.2), the development phase (2001.2-2008), and the time period after the greenbelt policy release on Dunchi Island(2008-present). In each discourse, the OMP project is rationalized as a citizen participation park project that (1) aims to enhance the quality of public green space in Busan, (2) is accompanied by various community engagement programs that emphasize the value of urban nature and environmental education to expand citizen participation, and (3) has contributed to the National Urban Park Bill. This research emphasizes the role of the discourses in helping the public gain a critical understanding about the local environment and values of urban parks. By analyzing the contents of the discourses, it explains the social learning values of the OMP expressed in the discourses.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.4
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• pp.148-165
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• 2015

The Cultural Properties Protection Law Act 1962 has been achieving its role for systematic preservation, management and application of the cultural heritage under rapid economic growth circumstances through continuing revisions. Introduced the influence review system for cultural heritages in 2000, and legislated the guideline for the state-change allowance standard for the National Cultural Heritage in 2006 in specific, the law has been contributing significantly for the cultural properties and historical/cultural environment preservation, along with increase in administrative efficiency and improvement on settlement environment. However, increase in public awareness about the cultural property's value and the needs for the local revitalization by utilizing the heritages, while some allowance standard not peoperly delivering the surrounding conditions, such as the value of the properties and their substantial characteristics, land utilization, etc. being applied, complaints from the local residents are increasing continuously. Thus this research focuses on clear vision/value of the heritage and apply them to create the review criteria for the state-change allowance per heritages. Here we set the Focus of Landscape Management Indicators in order to actively preserve and manage the physical characteristics and the native value by analyzing the Cultural Heritage Protection Laws and related guidelines, manuals and research papers, and redesign the cultural propertiy's classification scheme and propose the Review Standard for state-change from the view point of changing the current state. With this research, we expect increase in the satisfaction for the Property management system with public understanding promotion regarding the Standards by applying the reviewed state-change allowance Standards, white securing the consistency for the review criteria as well as the systematic management of historical/cultural environment with their typification characteristics and the value for short-term.

• Korean Journal of Environment and Ecology
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• v.26 no.4
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• pp.537-549
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• 2012

The purpose of this study was to provide data for the basic research to found the effective conservation and management plan for the Hamyangsangrim designated as Natural Monument No. 154 and surround areas by analyzing the ecological characteristics such as landuse and actual vegetation, plant community structure, soil chemical property and also to identify the tendency of the ecosystem changes through comparison with past studies. According to analysis the results, the landuse and actual vegetation of survey site was classified as 8 types which were forest, artificial greenspace, plaza and open-space, bare ground and the pavement, water bodies, facilities, agricultural land and etc.. It was also categorized as 38 types according to detailed characteristic. 15 kinds of forest vegetation community types comprising silva were classified among them. The changes of actual vegetation showed little variation that the Quercus serrata-Carpinus tschonoskii forest was the most widely distributed in 2003(forest area ratio is 48.3%) and 2010(forest area ratio is 48.1%), whereas, the Quercus serrata forest declined a more dramatic from 11.6% to 23.2%. The Quercus serrata-Carpinus tschonoskii forest increased sharply(11.6% ${\rightarrow}$ 23.2%) and also the Quercus serrata-Zelkova serrata forest increased steadily(2.2% ${\rightarrow}$ 7.9%). The agricultural land around forest was transformed into artificial green zone. Moreover, water bodies, bare ground and the pavement of areas have increased. In addition, the urbanized area has decreased because the damaged areas inside forest have been restored to the woodlands. According to the result of typical 6 types vegetation communities change, the middle layer trees grew up to the canopy layer trees and was formed the canopy layer structure. The middle layer trees expanded their forces widely. Also new species appeared. And the shrub individuals also more dramatically increased due to the growth of shrubs. The force of Quercus serrata declined as well. However the force of Carpinus tschonoskii and Zelkova serrata expanded and increased in the forest. It must be the result of the ecological vegetation succession and environmentally soundly health recovery by influence of the projects of forest surrounding environment improvement and limitation of access to forest have managed and maintained since 2003. Those sorts of changes seems to be going to develop continuously. In the future Carpinus tschonoskii and Zelkova serrata will not be only codominant in the canopy layer but also Carpinus Tschonoskii, Zelkova serrata, Meliosma myriantha, Sapium japonicum. Styrax obassia and Acer pseudo-sieboldianum will be codominant in the middle layer. As a result, the forest's codominance species are going to be changed such like that.

• Journal of the Korean Institute of Landscape Architecture
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• v.47 no.2
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• pp.117-132
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• 2019

The study examines the significance and limits of modern park planning by analyzing major planning documents of Gyeongseong in the Japanese colonial era. Among seven selected documents from 1925 to 1940, which show the contents related with park planning, documents of 1930 and 1940 presented the official park plan of Gyeongseong. By the 1920s, the park plan was not a major concern in urban planning of Gyeongseong; however, as the planning law as enacted in 1934, the park plan legally became a part of the official master planning process in the 1930s. In 1940, the most comprehensive park plan for Gyeongseong was published. In the beginning of modern urban planning, a park was mainly perceived as a sanitation utility. From the 1920s to the 1930s, the park planning system was significantly improved including systemic classification of parks, guideline development considering spatial planning, and introduction of a concept of infra-structural green space. Despite of the improvement in the park planning, the actual quantity of the overall green spaces barely changed and there was a huge discrepancy between the planning ideal and the reality. The Gyeongseong stadium was the only facility newly built in the 1920s, and only two parks were constructed in the 1930s. The plan to build 38 new parks in the 1930, and 140 in the 1940 was barely realized. However, there were efforts to improve parks and green spaces of Gyeongseong: Such as appropriating natural forest as parks, designating royal palaces as parks, and focusing on constructing smaller scale children's parks. Even though the ideal plan could not be fully implemented due to the war time situation and tight budget, the park system of Gyeongseong provided the framework of park planning of Seoul after the independence.

• Journal of the Korean Institute of Landscape Architecture
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• v.42 no.1
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• pp.64-74
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• 2014

Ecological parks enable the sustainable use of natural resources and can be used as a place for site based environmental education. This study presented an opportunity to expand the scope of user perceptions and leisure benefits into urban ecological parks. However, in-depth studies which are aimed at eco-park visitors seeking the leisure benefits of the eco experience programs are lacking. The primary purpose of this study was to examine the urban ecological park user' characteristics which were derived by analyzing the leisure benefits and attitudes for the environment. Also, the attitudes about the environment, and the leisure benefits of visiting urban ecological parks was found to influence visitors' overall satisfaction. To accomplish the purposes of this study, a questionnaire survey with 282 samples was carried out on the urban ecological park(Gildong ecological park, Yeouido tributary ecology park). The results of the analyses are as following: urban ecological park visitors had a positive attitude about the environment, and felt satisfied by the visitors' leisure benefits. The study also examined the relationships between visitors' expectations of the leisure benefits both before visiting and after visiting. The results showed that ecological park visitors had greater expectations regarding the leisure benefits of the ecological program. Leisure benefits have a positive influence on overall satisfaction, and a positive attitude for the environment does not affect satisfaction. This study reaches the conclusion that the ecology experience program utilizing ecological parks is very effective with regard to overall satisfaction in urban areas toward the general environment and ecological parks. One of the major implications of this study is to offer a way to improve user leisure benefits and promote ecological programs by developing ecological parks for the future.

• Journal of the Korean Institute of Landscape Architecture
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• v.39 no.3
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• pp.10-25
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• 2011

Since 1950, the city of Yokohama has been demanding the return of US. military base sites in Yokohama. Yokohama has established a systematic utilization plan for these relocation sites. The Fukaya communication site is one of former US. military bases verified for return in 2004. The Fukaya communication site is distinctively circular in shape and is entirely national land. Yokohama took an idea competition to its citizens to create a new park at the relocation of the Fukaya communication site, involving lots of citizen opinion in its utilization goals. This study determined the process of the idea competition at the Fukaya communication site in encouraging civic participation and analyzing citizen demands for the utilization of the relocation site. Through the idea competition, Yokohama city was able to obtain several ideas on the new park from various angles such as the function and shape of the urban open spaces. Citizens showed great interest in creating a park as green infrastructure on the Fukaya communication site. In addition, beyond utilization as an urban open space, many ideas suggested new lifestyles for the region in connection with the natural environment in the vicinity. Yokohama city tried to share the process and results of the idea competition with as many citizens as it could through a variety of means such as Participation, Judging, Support, Observation and Understanding. The case study on the idea competition at the Fukaya communication site is a good example of community design practice in public projects, and is full of suggestions for military bases in Korea, which has just established the plan of utilizing relocation sites as parks. Based on this case study, it can be concluded that it is important to make a systemic form for utilization planning with a clear process, open information and partnership in a variety of participatory design processes in order to ensure maximum civic utilization of relocation sites.