• Journal of the Korean Institute of Landscape Architecture
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• v.51 no.5
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• pp.57-69
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• 2023

This study investigates the garden vision of the Ancient Rome, focusing on garden literature in the Natural History by Pliny the Elder. Ancient Roman garden's types, character, and forms greatly influenced the development of later Western gardens, to which the practical and professional texts of Pliny the Elder and others contributed. This study explores the garden visions projected in these texts, with an introduction of Roman garden forms and stylistic features. The Natural History and other garden and agricultural texts written during the Ancient Roman period are characterized by their focus on practical production spaces rather than abstract nature or garden art. In the Natural History, Pliny described botanics in terms of usefulness rather than pleasure, and his discussion is premised on the practical hortus. In ancient Roman society, gardens were not only spaces for practical production and relaxation, and places to reproduce or realize the ideals of Roman rulers and intellectuals, including Pliny. They shared the episteme that sought to encompass knowledge of the entire world they ruled and, in doing so, realize their vision of the Roman Empire. Through the Natural History, Pliny sought to embrace useful knowledges of his time into the vast civilized world of the Roman Empire, and the garden was an important place to practice this ideal.

• Journal of the Korean Institute of Landscape Architecture
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• v.28 no.6
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• pp.127-132
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• 2001

The purpose of this research is to compare and analyze scientific names and Korean names of interior plants, considering that consumes' purchasing systems consist of internet and communication media in the era of informationalization, to help the consumers purchasing plants, and to propose some directions for the unification of Korean name in practical circulation. This survey was performed during 4 months from May to September in 2000. The survey places for research were wholesale flower market of YangJje Dong and Nam Seoul. The used plants for research were 37 family, 76 genus and 120 species. The main methods of data collection were interview and reference f plants picture books. The main reference for identifying plant name was accomplished by Yoon Ypung-Sub's HORTUS KOREANA. The research results are as follows; 1) Fifty one plants were identified as using generic or specific name. 2) Thirteen plants were identified as using varietal name. 3) Twenty four plants were identified as using common name recoded in a plant dictionary. 4)Thirteen plants were identified as using incorrect name. Consequently, it was identified that the research for the unification of Korean name of interior landscape plants should be performed thorough continuous cooperation between academic field and business field for solving various problems which is occurred in plants circulation process.

• Journal of the Architectural Institute of Korea Planning & Design
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• v.35 no.8
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• pp.81-88
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• 2019

Although small but eye-catching outdoor constructions are generally called follies in contemporary architecture, French landscape researchers found different features of the fabrique, which they called separately from the folly. Unlike the 18th-century English gardens, in which the landscape itself was emphasized more than decorative structures in it, French fabriques actively made the atmosphere of picturesque gardens. In this background, this paper, from the architectural point of view, studied the 18th-century garden theories in both Britain and France, which might influence the formation of the fabrique. Then, it tried to analyze the features of French major picturesque gardens and their fabriques, relating them to painting, drama, and culture. In conclusion, this study, focusing on the relationship between the garden and its fabriques or follies, compared the different features between the English landscape gardens and the French picturesque ones in the 18th century.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.3
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• pp.58-68
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• 2014

Christian Cay Lorenz Hirschfeld is often regarded as 'a father of landscape garden art.' He was an aesthetics professor and garden theoretician in the $18^{th}$ century. He put forth the most comprehensive garden theory book in five volumes between 1779 and 1785. His book, Theorie der Gartenkunst, was translated and widely circulated in his contemporary. The book, which dealt with diverse aspects of garden art such as history, design, material, and type, urged to promote the prevalence of landscape garden in European continents as well as in Germany. However, there have scarcely been discourses in the Hirschfeld's garden theory. This essay aims to review Hirschfeld's garden thoughts in his book critically and to reinterpret some issues in the contemporary landscape theory and practice. Hirschfeldian theory was the product of $18^{th}$ century German Enlightenment and romanticism. At that time, Nature was regarded as divine realm. There was a German affinity with natural world. The spread of reading culture and the fashion of travel literature were another background of the success of his garden literature. Several issues in Hirschfeld garden theory will discussed here. First, privileging garden art was the most significant contribution in his theory. He emphasized that garden art was the most advanced art form among all art genres. Second, garden art was grounded on the mimesis of nature. The ambiguous relationship between nature and art still existed in garden making. However, garden art can be flourished when utilizing the potency of nature in itself. Third, there was the association between the image and the idea in experiencing the garden. Some garden scenes stimulated the related emotional responses such as cheerful and merry, softly melancholic, romantic, solemn etc. Fourth, the movement was the essential aspect of garden art. Motion and emotion are come together in garden experience. To represent the landscape garden style in suitable way, the sketch or image seems to be preferable than the plans and views. Finally, garden art was composing of not only the physical space but also the spirit of place. He maintained the garden art as hortus moralis should be a social metaphor. Hirschfeldian garden theory has often been criticized as the lack of practical power and the old fashioned idea. However, his theory influenced on formulating the idea of public park in $19^{th}$ century. Moreover, there are still some visionary aspects of his theory such as the reevaluation of garden art, the emphasis of locality and the introduction of Mittelweg idea. Recently, gardening culture are prevalent in various realms of art and life. Hirschfeld's garden theory as humanistic landscape theory can provide us some insights in the contemporary practices.