• Journal of the Korean Institute of Landscape Architecture
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• v.45 no.3
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• pp.41-53
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• 2017

This study was performed to determine what the plant material were selected to reflect in the 2016 Korea Garden Show designer's garden. It was analyzed that plant material was used to display the theme of the garden and to create a specific space. Under the given theme of 'K-Garden, Shinhallyu Garden(new style garden culture) with the most Korean taste', the plants were used to highlight the theme in two types: 'representation' and 'expression'. There were two 'representation' gardens that imitate a particular space of Korean taste and four 'expression' gardens that showcase the designer's thoughts with abstract concepts and concrete objects. Three gardens included both types of garden. The way of revealing the subject with plants was used more for 'expression' than for 'representation'. There were eleven spaces for 'representation' of the Korean taste, a vegetable garden, faucet, pond, field, nature, a Hanok court garden, groves of bamboo, tile roof, stone wall, rock and backyard of a Hanok connected to the mountain. The planting material was used in two ways: reflecting only the ecological characteristics of the plant, and considering the ecological and visual characteristics together. Vegetation plantings reflecting the ecological characteristics were observed in all eleven spaces. Nine of the spaces reflected the growth environment of the plants, but the other two did not reflect the ecological characteristics of the plants, unlike the designer's intention. In the case of the four spaces that considered the ecological and visual characteristics together, color and size were considered visual characteristics. The plants in the seven spaces that included 'expression' as the theme were selected to reflect the visual characteristics in the order of color, shape, texture, and size, rather than reflecting ecological characteristics. A group planting method was applied. When the plants were used as materials for creating space, Norman(1989) analyzed three enclosure factors(overhead, vertical, ground plane). Only two deciduous trees were used in the overhead plane while five species of evergreen shrubs and thirty species of various deciduous plants were used in the vertical plane. There were forty-five species (nine trees and thirty-six herbaceous plants) forming the ground plane, and various herbaceous plants were utilized without duplication in each garden. The designer's garden of the Garden Show played a role in introducing new groundcover plants to the public. Three of the nine gardens did not include ornamental plants, and the use of decorative plants in other gardens was few compared to the number of plantings. In the Korea Garden Show designer's garden, most of the plants were being used with the intention of exposing the theme or architectural uses. In the 2016 Korea Garden Show designer's garden, many species of plants were used as materials for showcasing themes rather than for creating spaces. Also, the method of 'expression' was used more than the method of 'representation' in order to highlight the theme. This indicates that the planting materials reflect visual characteristics such as color, shape, texture, size rather than ecological characteristics.

• The Journal of Fisheries Business Administration
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• v.16 no.1
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• pp.91-124
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• 1985

Mariculture is contrasted with inland aqua-culturing fisheries. It is defind as the Industry of rearing Aquaorganism in limited coastal area relatively shallow in depth. Then, It's coming into being realization of Mariculture in it is long in history that Mariculture was realized in Korea. But it is from the early part of 1960s, that this industry has normally developed. Owing to 200 miles economy-zone problems of coastal countries, the development of deep sea fishing was limited, so the Korean Government has now appreciated the importance of cultured industries in the field of coastal fisheries. And the Korean Mariculture the output of which was only 18, 000 M/T in '60s attained 540, 000M/T in 1980s, has now occupied its relative importance in Korean Fisheries Industry. So the purpose of this report is to suggest the prospect of technical development of mariculture in the future of Korea, through the analysis of the various problems that affect upon the individual management '||'&'||' fishing ground utilization, along with the appreciation of "how to extend of those technical innovation" and "how the fishermen's technique level is extended at this stage. According to this study, the result is summarized as follows. First, Maricultural technique is classified into 8 sub-techniques as follows, as shown in fig. 1.Fig. 1. The Formation structure of mariculture technique Second, the change of technical method of mariculture in coastal area of Korea has made as 5 stages; 1) Scattering of culturing organism 2) Culturing by putting stone and installing bamboo 3) Culturing by installing rope and seeding 4) Culturing of putting objectives in cages 5) Culturing fish by feed Third, the maricultural fisheries of Korea has about 70 years long in history. It began from 1910s. But at that time there was no special technique in aquaculture and its technique was confined in searching out the object of species. The species was laver, oyster ect.Forth, although realization of mariculture in Korea has been long time, it is of late from 1960s that this has been industrial with normal development, and its technique of mariculture has mainly has developed from 1970s. Its result not only contributed to the high growth in Korean ecconomy along with the well balanced development between industires, but also it played a great role for the resolution of nation's food problem. Especially maricultural production has shown its sustained annual increase of 13.8% during the last 20 years. So the portion of mariculture among total fisheries stucture was extended from 4.1% in the early 1960s to 22.4% in 1980s.Fifth, it could be safely said that such development in maricultural field is resulted from the activity of aquacultural institutes such as Fisheries Reseach '||'&'||' Development production of major kinds such as Oyster, Sea-mustard, and Laver etc. As well as in the innovation of aquaculturing method with synthetic fiber utilization. FRDA has played important role in the efficient propargation of new aquacultural technique.Sixth, as for the change in aquaculture structure and its during period between 1970s and 1980s, the private management participation shown 25% increase from household number of 45, 173 to 56, 268 in total number. And in the respect of the management scale, of their management decreased, while it showed an increase in relative large scale management, the increase over 3 employees compared with other fisheries field between '70s and 80s. This must be an major trait to be recorded, Now the data above mentioned are shown as in table 1 and 2.Table 1. The maricultural fishing ground development situation in 982.Table 2. The mariculture management as seen in the employmnet size in high seasion.Owing to the technical innovation, of the mariculture in coastal area new income of fishermen increased and it also is true that the number of fishermen participating in its industrialization increased. But the problem being from now on is the self-discharge of the destruction fishing ground considered resulted from rapid expansion in aquaculture industry and the preventive system of sentility of fishing ground. sentility of fishing ground.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.3
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• pp.38-49
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• 2015

This study aims to contemplated spatial recognition in Soswaewon Garden through garden visitors poetry. It was content analysis in poetry and extract frequency from words based on relationship of author. The results were as follows. First, relationship of authors who wrote Soswaewon Garden poetry was formed in companionship. In the Yang, San-Bo(梁山甫), poetry was written by Song, Soon(宋純), Kim, Un-Geo(金彦据) and Kim, In-Hu(金麟厚) as the central figure. Especially Kim, In-Hu was playing an important role in Soswaewon Garden poetry. He was wrote many of poetry and keep friends with Yang, Ja-Jeong(梁子渟) too. In the Yang, Ja-Jung, relationship of previous generation was sustained. In addition, Ko, Gyeong-Myeong(高敬命) and Kim, Seong-Won and Jeong, Chul(鄭澈) is more closely related than others. Because blood relationship by marriage. In the Yang, Jin-Tae(梁晋泰), He formed a relationship with a celebrity and attend to international activity. Since then Yang, Jin-Tae periord, Yang, Gyeong-Ji(梁敬之) and Yang, Chae-Ji(梁采之) formed relationship of previous generation was sustained. And surrounding people was written poetry as hold a banquet. Second, plant and ornament is a popular object for writing poetry. Bamboo grove and Fine tree with a high frequency of plant element in poetry. Bamboo grove is a typical species of trees in Soswaewon Garden. It was enclosed the Soswaewon Garden. Fine tree was often used target of poetry as a single tree. Meanwhile, ornament of the wall has been used most frequently. Descendants wrote a poem to see it because Kim, In-Hu's poetry was left. This phenomenon is involves respect for the ancient sages with high frequency. In addition, behavior of viewing the landscape was mainly appeared. Third, spatial recognition of Soswaewon Garden can be divided into landscape cognition, behavior cognition and emotional cognition. In a aspect of landscape cognition, early Soswaewon Garden was recognized as a pavilion. That was used garden name to 'Soswaewon Garden' since Yang, Ja-Jung's period. That is to say, Soswaewon Garden expanded from pavilion area surrounded by trees into the whole appearance is equipped garden area. Behavior cognition was consisting drink and enjoys a landscape. In the Yang, San-Bo, authors enjoyed drinking and viewing a landscape besides walking, writing poetry, viewing the moon. But after Yang, San-Bo's period other than drinking and enjoy a landscape has appeared a low frequency. These results were changed from internal place to blood relationship into external place to companionship. In the Yang, San-Bo's emotional cognition was sorrow and yearning about leave to Soswaewon Garden with an idly atmosphere. Pleasant emotion was sustained all generation. And emotion of respect for the ancient sages was appeared since Yang, Cheon-un.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.4
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• pp.1-21
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• 2013

This study has researched the characteristics and elements of the chuibyong, a sort of trellis in the Joseon Dynasty through the old pictorial data. The results were as follows; First, as a result of the analysis for the 25 pictorial data in the Joseon Dynasty, the chuibyongs have usually functioned as screening the facility to protect the private life and dividing the spaces of the site, but it was internally regarded as the props which symbolized the dignity and elegance of high class. Especially, not only the faunas such as crane and deer, and the floras such as Pinus densiflora, Musa basjoo, bamboo species and Paulownia coreana, but also various garden elements including oddly shaped stone, pond and pavilion were shown in the surrounding area of the chuibyong, and they were considered as a series of combination that was needed in the ideal garden for the literati. Secondly, the chuibyong was recognized as the ideological object which was typical of the literati culture in the story derived from an ancient event of China. Such image has been reflected intactly in the garden culture, and the chuibyong has been used(considered) as the important scenery of the season to imitate and reenact the Chinese Classical Garden in the narrative painting. Thirdly, in terms of the shape and function, the chuibyong in the paintings in the Joseon Dynasty basically had the function of the shielding and spatial division. Fourthly, the height of the chuibyung was similar to the one of fence which exceeds the person's height or Youngbyek(影壁) which is installed in the front and the rear of the main gate in China, and the various shape's chuibyung was properly set up in many spaces. Lastly, the making of the chuibyong in Joseon Dynasty was related to the trend of the writer's culture which was popular nationally in Ming dynasty rather than the particular functions or the location conditions. Especially, the symbol expression of the chuibyong showed on 'Elegant Gathering in the Western Garden' which was brought from China was recreated in the mansion of the upper class in Hanyang city as the center, and the primary mode for the expression of the wealth and writer's spirit through the chuibyong was transformed into the high-quality's garden element which could be created in the royal palace or the mansion of the upper class. Also, the use of the chuibyung was changed by spreading into the residential style for common people after the mid-nineteenth century, and it means that the chuibyung was developed into Korean styles.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.39 no.4
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• pp.24-37
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• 2021

This study was conducted to newly examine the original landscape of Buyongjeong(芙蓉亭) and Juhamnu(宙合樓) areas in Changdeokgung Palace(昌德宮), focusing on the modern period including the Korean Empire, and to derive useful research results for restoration and maintenance in the future. The study results can be summarized as follows. First, the artificial island in Buyongji(芙蓉池) was originally made up of a straight layer using well-trimmed processed stone. However, during the maintenance work in the 1960s and 1970s, the artificial island in Buyongji was transformed into a mixture of natural and processed stones. The handrail installed on the upper part of the artificial island in Buyongji is a unique facility that is hard to find similar cases. The handrail existed even during the Korean Empire, but was completely destroyed during the Japanese colonial period. Second, Chwibyeong(翠屛), which is currently located on the left and right of Eosumun(魚水門), is the result of a reproduction based on Northern bamboo in 2008. Although there is a view that sees the plant material of Eosumun Chwibyeong as Rigid-branch yew, the specific species is still vague. Looking at the related data and circumstances from various angles, at least in the modern era, it is highly probable that the Eosumun Chwibyeong was made of Chinese juniper like Donggwanwangmyo Shrine(東關王廟) and Guncheongung(乾淸宮) in Gyeongbokgung Palace(景福宮). Third, the backyard of Juhamnu was a space with no dense trees on top of a stone staircase-shaped structure. The stone stairway in the backyard of Juhamnu was maintained in a relatively open form, and it also functioned as a space to pass through the surrounding buildings. However, as large-scale planting work was carried out in the late 1980s, the backyard of Juhamnu was maintained in the same shape as a Terraced Flower Bed, and it was transformed into a closed space where many flowering plants were planted. Fourth, Yeonghwadang Namhaenggak(暎花堂 南行閣), which had a library function like Gyujanggak(奎章閣) and Gaeyuwa(皆有窩), was destroyed in the late 1900s and was difficult to understand in its original form. Based on modern photographs and sketch materials, this study confirmed the arrangement axis of Yeonghwadang Namhaenggak, and confirmed the shape and design features of the building. In addition, an estimated restoration map referring to 「Donggwoldo(東闕圖)」 and 「Donggwoldohyung(東闕圓形)」 was presented for the construction of basic data.

• Journal of Korean Society of Forest Science
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• v.82 no.2
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• pp.139-151
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• 1993

The virgin forests on and around Sungin-bong in Ulreung-do, an island situated between the Korean peninsula and Japanese archipelago, were investigated phytosociologically. They were classified into two communities, i.e. Fagus crenata var. multinervis - Majanthemum dilatatum community and F. crenata var. multinervis - Sasa kuriensis community. The former was subdivided into several units ; Acer takesimense - Allium victorialis var. platyphyllum group, including Tsuga sieboldii - Taxus cuspidata var. tatifolia subgroup and a typical subgroup, and Acer mono var. savatieri - Rumohra standishii group, including Dystaenia takeshimana subgroup and a typical subgroup. The other was subdivided into two subunits ; Acer okamotoanum group and a typical group. It was estimated that this area was orginally covered with beech and maple dominated forest vegetation and with Machilus dominated forest or bamboo forest. However, in these days, The natural vegetation of it has been destroyed and in future, may also be disturbed gradually by human activities. Judging from the coincidence method, the structure and distribution of the forest communities was more related to altitude than to topography. The phytomass, based upon the basal area of each community to $100m^2$ showed that Acer mono var. savatieri - Rumohra standishii group ($BA=7574.1cm^2$, $P=9,882,058cm^3$) haved the largest value and Tsuga sieboldii - Taxus cuspidata var. latifolia subgroup($BA=2126.3cm^2$, $P=1,746,755cm^3$) showed the smallest value. The flora of the vascular plants collected from this area consists of 71 families, 187 genera, 243 species, 1 subspecies, 44 varieties, 6 forms and 294 taxa in total.