• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.34 no.3
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• pp.18-27
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• 2016

A 'flowered-wall,' which are also called a 'flower plant patterned wall,' or a 'flower patterned wall,' is a wall of a building or a fence with various patterns on it. A flowered-wall can be an external mean to look into the owner's authority and values while internally it possesses the symbolic meaning of wishing the well-being and peace of the household. In the research area of the flowered-wall, the walls located in the palace were well researched in various studies across architecture, horticulture, and art design, however, the walls belonging to the local regional traditional folk houses and temples have been involved in little to no research in the landscape architectural area. Taking notice of this perspective this study researched and analyzed the cases of the flowered-walls of the traditional folk houses and the temples that belonged to the national and municipal cultural properties of Jeollabuk-do Province from the landscape architectural perspective. The whole samples were examined and it was shown that there were 9 traditional folk houses with flowered-walls. Among the temples there were 7 cases. Therefore the research focusing on tracing the shape and symbolic meaning of the flowered-walls in the 16 cultural properties located in the Jeollabuk-do Province which consisted of traditional folk houses and temples resulted in the following. Flowered-walls displayed hierarchical differentiation revolving around the main space and its spacial characteristic. This differentiation is variously displayed across the flowered-wall, gable, crack plastering, and chimney. In the case of the folk houses the symbols have the meaning of the prosperity of the household and progeny, exorcism, longevity, number of fortune, harmony, and peace etc that prays for practical wishes such as long life and good health with the prosperity of their descendants. Meanwhile in the temples, symbols indicating an easy passage into eternity, perpetuation of the Buddha-nature, and three marks of existence are applied, differentiating from the folk houses by the appliance of the religious values in the patterns. In conclusion this research resulted in the rightful illumination on the local landscape culture, the possibility of expressing the Korean sentiment through flowered-walls in the contemporary space, the reassessment of flowered-walls, and the provision of basic data for a plan to success the cultural heritage.

• Journal of the Korean Institute of Landscape Architecture
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• v.43 no.5
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• pp.40-54
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• 2015

Tashkent Seoul Park was completed in June, 2014, following the signing of a sisterhood relationship between Seoul City and Tashkent, the capital of Uzbekistan in July, 2010. An open competition for the design of the park was held and, based on the design, the park was completed in June and open to the public in September, 2014. Tashkent Seoul Park is more than a public park in Tashkent. The focus was on making it a starting point for offering a new model for traditional parks of Korea built abroad. Korean gardens and parks built in overseas cities are not only a landscape space but also serve as an ambassador that promotes the culture of Korea to foreigners who are unfamiliar with Korean culture. Therefore, Tashkent Seoul Park was designed to reflect the beauty and uniqueness of Korean traditional landscaping to promote the image of Korea and Seoul. As such, the design and plan was focused on the best measures to make known Korean culture through a design that sets itself apart from the landscape of Uzbekistan. To date, Korean parks or Seoul parks that have been built overseas have focused on the re-enactment of gardens and parks during the Josun Dynasty era. But with the Tashkent Park, the process of the 170,000 people from Goryeo was also reflected onto the design so that the culture and sensibilities of old Goryeo could be felt as well. Korean traditional garden design elements for the representation of the Korean identity are taken from the pilot study. This design element includes not only that of Goryeo, but also the Josun Dynasty era to allow local people to experience a general Korean traditional garden. The traditional beauty and lyricism of Korea was presented to Central Asia through the park in Tashkent so that the citizens could feel the simple yet down-to-earth beauty of Korean aesthetics. As such, the spatial experience of story-telling in Seoul Park evolves from two points of view. First, it is a spatial experience from the perspective of the Goryeo period and of foreigners. It is a continuum of a landscape experience where one can trace the sentiments of Korea and a hometown in Korea by passing through lyrical and multi-faceted spatial structures. Second, it is an experience that evolves from the viewpoint of an outsider, including the Tashkent citizens. It allows visitors to read the various methods and attitudes in an unfamiliar landscape and terrain. Through a story-telling that is reminiscent of the Silk Road through which trade with East Asia took place, visitors can interact with Korean culture in the Korean Garden and throughout the process they can feel the very Korean sentiments. This park presents the latest example of a 'Korean Garden' formed overseas and thus presents a clue to understanding the representation pattern of the Korean aspects of Korean Gardens through a study on the design strategies.

• Journal of the Korean Institute of Landscape Architecture
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• v.18 no.2
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• pp.31-44
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• 1990

This study was carried out to investigate the changes of rural residential environmemts accompanied by the rural village improvement projects. The results of this study can be a guidoline for further betterment works of rural village envirnments. This sutdy is composed of the survey of two major parts, one Is the interview of the residents and the survey of existing conditions of residential environments, and the other is a questionnaire survey of the mental image, preference and satisfaction for each village residential environments. Based on preliminary investigation, five rural villages, located In Kyungsamgun., Kyungbuk province, were selected as sutdy sites. The major results are summarized as follows; 1. In socio-cultural enveronments, the ratio of compound and non - agricultural household are increased with the modernization of rural villages. On the ocher hand, the numbers of neighbor's association are considerably decreased. This means the traditional community of korean rural villages are diminishing. 2. In physical environments, the ratio of improved western type gouses are increased In modprnized villages. And the modernization is most remarkable in the palls of fences and gardens. 3. By the result of the analysis of residfnt's environmental image and preference, the image scores of urban, formal, mdoern, etc. are showed to be high. And the preference is also high in modernized villages. But in general, the Preference for the village environment is comparatively low in all villages. This means the improvememt work should be continuous and systematic. 4. By the result of stepwise regression analysis, the variables, affecting the preference of village environment. are regularity, familiarity, amount of greenery, beauty of surrounding scenery, convenience, cleanness, etc. The R2s of the perference models were 0.4486 ∼0.9395, Which are considered to be high. 5. In the satisfaction for each residences, the toilets are mostly dis - satisfying. With the modernization of vilelages, the needs for environmental quality by residents are increased. 6. In the satisfaction for village enveironments, the satisfaction level is most low in service facilities, such as public bath, barbershop. And the satisfaction for the scenic beauty, the amenity of surrondings, and the com munity of the traditional villages, are commparatively high in conventional villges. 7. The imporvement works, based on the characteristics of each rural villages, are recommended. And the tradition of Jung - ja tree spaces and harmony with surrounding landscape of traditional villages, must be conserved with good regards.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.1
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• pp.12-26
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• 2010

This study was conducted to investigate current states and management of the protected trees in Gangwon-do. There were 701 protected trees in 42 species designated by 2008, which were distributed at 425 places. Major species were Zelkova serrata(29%), Pinus densiflora(24%), Ulmus davidiana var. japonica(11%), and Ginkgo biloba(5%). The protected trees played various roles in the villages, mostly as sacred trees(43%). The 51% of protected trees were 300 years or more in age, the 53% were more than 20 m in height, and the 57% were more than 300 cm in girth at breast height. The 69% of the protected trees have been designated for protection in 1982 and the rest have been designated by the local cities by 2008. The species number of the protected trees in Youngseo region was greater than that of the Youngdong region. The major species were Zelkova serrata (33%) and Pinus densiflora(17%) in Youngseo region, and were Pinus densiflora (38%) and Zelkova serrata(19%) in Youngdong region. The ratio of native species to exotic species was 33:1 in Youngseo region, and were 25:6 in Youngdong region. The 29% of protected trees were located in the field, 28% in the mountain, and 25% in the villages. The 45% of the ground were covered by herbaceous plants, 39% exposed, and 10% gravel mulch. Most of the protected trees had good growing conditions. The 70% of the protected trees were under good maintenance, and the rest were under undesirable conditions. The soil characteristics of the protected tree areas in Gangwon-do were not much different from those of Korean average. It seemed to be necessary to increase designation of protected trees based on the tradition, history, local value and academic application in Gangwon-do. In addition, it is desirable to suggest plans to utilize and manage protected tree areas for enhancing the value of natural heritages in Gangwon-do.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.3
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• pp.40-51
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• 2011

The purpose of the study was to understand the symbol and locational meanings in building and relocating Gwangje-jeong(光霽亭) through the analysis and interpretation on the construction background, history, the location and its characteristics. Concerning physical environment, human activities, the symbol and meanings of the formal Gwangje-jeong site and the present location, the study was concluded about the site and its meaning of tradition as following. Gwangje, the name of the pavilion, represents the fidelity of Maedang(梅堂) Yangdon(楊墩) who refused as Seonbee(a man of virtue) to be tainted with the corrupt world, which was related with the situation at that time. It implies Maedang's feeling of realizing Noojeongjeyong(樓亭題詠) of Gwangje-jeong along with the high spirit of Gwangpoongjewol(光風霽月). According to the record about rebuilding Gwangje-jeong, Maedang was the very person who planted plum flowers at the pavilion and put up the tablet of its name, Gwangje. Even after his death, Gwangje-jeong was the symbol indicating Yangdon, given the triple high ground and the planting of plum flowers. Also, Sookho(宿虎) town at the entrance of Gwangje-jeong and Bokhoam(伏虎巖: a rock) at the right side of the pavilion signifies the location for praising Maedang Yangdon, and the Yangjipha's Oensi(五言詩: five words verse) engraved on the rock gives a good description about the place, Agyesa that worshiped Yangdon. As Agye-Sa(阿溪祠) where Yangdon was worshiped and praised had been abolished in the 5th year under the Kojong's reign(1868), the spirit praising Maedang had finally been used for the relocation of Gwangje-jeong. Despite the relocation of Gwangje-jeong, the old Gwangje-jeong site has remained at least for 359years at Hucheonli, and its surroundings have maintained the name 'Gwangje' as the front place name morpheme, for example, 'Gwangje-jeong,' 'Gwangje Town,' 'Gwangje Bridge' and 'Gwangje Creek,' for symbolizing the praising of Maedang. Gwangje-jeong, as the center place of solidarity among Namwon Yang's family clan, has been able to maintain its symbol and meanings in spite of relocation, mainly because of the fellowship among the descendants, family clan and alumni who respected virtuous achievements of ancestors and shared the agony of the time. In addition, the symbolism has been preserved since the spirit of Gwangpoonjewol of Yangdon and his high character were cherished along with the spirit of Bongseon(奉先) that inherited and kept virtuous achievements of ancestors.

• The Journal of Art Theory & Practice
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• no.14
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• pp.33-51
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• 2012

Joseph Mallord William Turner (1775-1851) has been widely regarded as the most original and brilliant English landscape painter in the 19th century. Admitted to the Royal Academy Schools in 1789, Turner was a precocious artist and gained the full membership of the prestigious Royal Academy in 1802 at the age of 27. Already in the 1800s he was recognised as a pioneer in taking a new and revolutionary approach to the art of landscape painting. Among his early works made in this period, The Shipwreck, painted in 1805, epitomizes the sense of sublime Romanticism in terms of its dramatic subject-matter and the masterly display of technical innovations. Of course, the subject of shipwreck has a long standing history. Ever since human beings first began seafaring, they have been fascinated as much as haunted by shipwrecks. For maritime societies, such as England, shipwreck has been the source of endless nightmares, representing a constant threat not only to individual sailors but also to the nation as a whole. Unsurprisingly, therefore, shipwreck is one of the most popular motifs in art and literature, particularly during the 18th and 19th centuries. Yet accounts, images and metaphors of shipwreck have taken diverse forms and served different purposes, varying significantly across time and between authors. As such, Turner's painting registers a panoply of diverse but interconnected contemporary discourses. First of all, since shipwreck was an everyday occurrence in this period, it is more than likely that Turner's painting depicted the actual sinking in 1805 of the East India Company's ship 'The Earl of Abergavenny' off the coast of Weymouth. 263 souls were lost and the news of the wreck made headlines in major English newspapers at the time. Turner's painting may well have been his visual response to this tragedy, eyewitness accounts of which were given in great quantity in every contemporary newspaper. But the painting is not a documentary visual record of the incident as Turner was not present at the site and newspaper reports were not detailed enough for him to pictorially reconstruct the entire scene. Rather, Turner's painting is indebted to the iconographical tradition of depicting tempest and shipwreck, bearing a strong visual resemblance to some 17th-century Dutch marine paintings with which he was familiar through gallery visits and engravings. Lastly, Turner's Shipwreck is to be located in the contexts of burgeoning contemporary travel literature, especially shipwreck narratives. The late 18th and early 19th century saw a drastic increase in the publication of shipwreck narratives and Turner's painting was inspired by the re-publication in 1804 of William Falconer's enormously successful epic poem of the same title. Thus, in the final analysis, Turner's painting is a splendid signifier leading the beholder to the heart of Romantic abyss conjoing nightmarish everyday experience, high art, and popular literature.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.4
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• pp.26-37
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• 2015

This paper aims to review all landscaping elements of Donggwoldo by building and identify the palatial garden landscaping characteristics and landscaping methods in a bid to explore landscaping methods applicable for modern-time gardens of Korea through Succession of Tradition. The research methodology was adopted by which the palatial gardens appearing in Donggwoldo were observed according to garden elements to identify their characteristics. Garden elements in Donggwoldo include oddly shaped stones, ponds, buildings and Madang, borders and areas, and trees. Their characteristics were analyzed, and as a result they are outlined as follows. Location : Buildings in Donggwoldo were located in the optimal areas within the Myungdang (the best location), with the building sites being created by transforming the natural topography positively according to the existing topography and uses. Tree planting : The construction of the buildings involved using the existing trees. There were no specific principle and method of planting trees, and no specific criteria for choosing the kind of tree. Symmetrical planting was adopted and its is considered embracing the viewpoint of making gardens based on the expression of Yin and Yang. Strongly symbolical kinds of trees were also adopted. Bangji : it takes a nearly circular shape in palatial gardens, and such shapes represent conceptual and abstract symbols. They were also frequently used as the place of public entertainment. Pavilions : they did not take a certain standard shape. They had diverse shapes, including a triangle, square, pentagon, hexagon, and octagon and cross. Oddly shaped stones : Oddly shapes stones and stone cases were deployed mainly near the bedroom and the crow prince's residence and in the rear garden. Hwagye : it appeared mainly in the back of the bedroom, the crown prince's residence, the princess's residence, and other women's quarters. Chwibyeong : it was installed for the purpose of drawing the natural energy like a natural inlet instead of being the nature-dividing wall. Korea's garden composition method was very different from the Western and Chinese method. Overall, Chosun palatial garden style was characterized by strict and Confucian features, while the garden construction method adopted the Taoism thought. Yet, the gardens had a carefree aspect.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.2
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• pp.101-109
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• 2012

Traditional village forests in Jeju Island represent unique cultural landscape with a history of more than several hundred years as a national cultural asset in Korea. In this paper, the characteristics and meaning of traditional village forests in Jeju Island was compared with the Dangsan and Bibo forests at inland. There are 368 Oreums, parasitic volcano, and 391 shrines of Dang(Divine place) in Jeju. Life, culture and tradition of rural villages are all connected with the Dang and Oreum in Jeju. It has been found from this study that the village in Jeju were established as a cultural landscape on the surface of natural landscape. The features of traditional villages focused on the Dang and Oreum in Jeju Island were similar to the Dangsan and Bibo forestsat inland villages. The Oreum represents mountain and the Pojedan forest is newly found in Sangmyung-ri. The seashore areas are covered by vaocanic rocks in Jeju and large scale windbreaks are hardly found. The stone tower at Sinheung-ri built for blocking sand movement represents Bibo forest. The special attribute of the Dang in Jeju is that it is close to real life and believers are still remain. In 2009, the Jeju Chilmeoridang Yeongdeunggut ritual was nominated as an Intangible Cultural Heritage of Humanity by UNESCO. The shrine of Dang, however, has been degraded fast by construction of seashore road and Jeju Olle trail path. As for the world cultural heritage discussed at international conferences, it is important that there is sustainability on the right to enjoy cultural heritage. Integrated efforts from local residents, local governments and national government are needed to set up a management scheme for the Dang culture. Rural villages in Jeju with the Dang and Oreum are expected to get an international attention as to have traditional cultural landscapes of Korea.

• Journal of Korean Society of Rural Planning
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• v.6 no.1 s.11
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• pp.19-28
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• 2000

Now in order to overcome the weakest points of the rural areas of the city of Kimje and, transform them into rural cultural villages which have local governing systems suitable to new localization age and activate this plan, we selected Daesan Village as a model village which had shown a lot of potentials in the basic research and studied it dividing it into the former part and the latter part. We studied Daesan village in the former part focusing on state analysis and basic ideas and in the latter part focusing on master plan and detail planning. We can summarize the conclusion like the followings. 1. Daesan Village located 8 kilometer away from the downtown Kimje and the city of Iksan respectably has comparatively good environment of good sunny place as an open field whose surrounding configuration of the ground consists of farming lands and low hills in front and rear. It has 38 farming households in all. 2. Human environment(인문환경); the village road whose width is about 4 meters is forming a flow system forking off into three. There is a route bus which operates three times a day even into the inside of the village. The main sources of revenue are vegetables in facilities, fruits and floriculture. Their average revenue is about 10.5 million won. 3. Here in DaeSan Village a legend dealing with Teasan literally meaning a big mountain consist of th village's tradition and you can see the tombs of a very faithful son and Anwi an army general in the age of the Japanese Invasion of Korea of 1592 to 1598 inside the village. 4. 85 out of the eitire population 141 whose age are over 20 showed very positive attitudes in a questionnaire about, making the village a cultural one and its development. 5. The basic of planned ideas is to increase the revenue of the farming household by making the village a professional farming one which has a state-of the-art production facility and agricultural technique. It is to make the village the one where people can enjoy the sense of the rural life and the farmer can enjoy their lives through consumptive and consistant leisure and resting activities. 6. We are planning to make entrance space, life space, rest and sport space, and cultural space considering the characteristics of the village and the demand of the resident. We are also planning to make tile entire city of Kimje an information transmitting base in short and long term perspectives. 7. DaeSan Village was planned as a place where tradition and the future exist together. On the basis of this concept we planned future programs for Daesan Village and in the latter part of the study master plans and detail plans will be continued.the regional agricultural condition. The development permissions were only during the period of restricted to use ($1979.12{\sim}1993.11$). We propose that the authority of development permission should be given to the local autonomy government, because the local government has the knowledge of its individual agricultural conditions.

• Korean Journal of Environment and Ecology
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• v.22 no.3
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• pp.207-220
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• 2008

Tourism in the natural environment grows significantly and in many tropical countries it becomesthe important earning of the nations. Nevertheless, tourism impact to environment and cultural values has become the threats to the sustainability and competitiveness of such industry. Therefore, the appropriate planning and management of tourism destination sites where environmentally and culturally fragile are needed in order to increase economic benefits, sustain local culture and conserve environment in balance. The aims of the paper are to examine tourism practices, to determine socio-cultural and natural resources, and to assess local people perception to cultural landscape and its future tourism development in order to formulate the appropriate strategies to achieve sustainable tourism. A case study was carried out at Tengger highland, Bromo Tengger Semeru National Park(BTSNP) East Java. Official documents were gathered and interviews with several key persons had conducted to determine recent status of tourism, resources capital and the existence of local people. Semi-structured interviews and questionnaires were carried out at Tenggerese villages to explore local people perspectives to tourism development, culture preservation, and cultural landscape conservation issues. It is followed by descriptive analysis of vegetation to assess the recent status of environments based on vegetation information. Our findings reveals that tourism grows significantly at BTSNP, and Tengger Caldera as spiritual and cultural sites for local people become the centre for tourism activities. The abundance cultural and natural resources are the significant capital for sustainable tourism. Tenggerese argues that tourism should be planned to provide benefits to local people, preserve tradition and able to conserve nature in order to ensure the living sustainability of Tenggerese. The overall result of the study provide general feature of recent status of the cultural and natural resources as well as positive society perception in order to establish a strategy for sustainable tourism in cultural landscape.