• Journal of the Korean Institute of Landscape Architecture
• /
• v.27 no.1
• /
• pp.54-63
• /
• 1999

The Landscape drawing is used as main media in landscape design process like the language in daily life for human. Designers input many intentions and meaningful words in design process through landscape drawing. The common purpose of landscape drawing is to represent reality effectively, even though it has variable visual forms and materiality. The representation in landscape drawing in metaphorical as well as visual and functional. But current tendency is inclined to use landscape drawing in a functional aspect for visual representation and the landscape drawing is utilized straight-forwardly rather than metaphorically for clear communication. Such recognition on landscape drawing results from the difficulty to accept the symbolic aspect of the drawing. The difficulty makes the utilization and the interpretation of landscape drawing stay at conventional level in following visible factors. For the sake of solving the difficulty this study considers landscape drawing as the text that contains readable objects and symbolic words. This study presents layer-methods for reading a landscape drawing as a text; situational and contextural reading, iconological reading and reading the subject of drawing.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.27 no.2
• /
• pp.140-151
• /
• 1999

The purpose of this study is to trace historical changes and to show broad spectrums in landscape architectural drawing. Drawing has been both a locus of interpreting a site and a vehicle of imagining the new landscape. The designed landscape might be influenced by the way to draw in landscape design. Despite of its importance, landscape architectural drawing has rarely been discussed. Here, the drawing will be understood as theoretical issues and texts for criticism. Recently, the drawing has primarily been recognized in functional and instrumental ways. The stereotypes office drawings such as plan, section, perspective, axonometric are typical examples. Its symbolic and metaphoric dimensions have been seriously diminished. As a result, the poetic power in the designed landscape might be devastated. Composite drawing, notation are the alternative drawings to overcome the above mentioned dilemma along with the adaption of collage and photomontage. Finally, I would argue that landscape architectural drawing can be a creative tool to elicit the idea and to reveal the trace of memory. It could be also a poetic locus to postulating the vision. Designers should utilize both traditional drawing and experimental drawing in order to reconcile the instrumental representation with the symbolic representation.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.26 no.4
• /
• pp.95-104
• /
• 1999

The Landscape Drawing is the main medium for constructing better environment which provides human beings with a place for dwelling well, even though it has some limitations. To provide places for people's daily lives, by what measure do we design\ulcorner, by what measure do we give dimension\ulcorner, and how can we appropriately measure the place with drawing\ulcorner On any given site, of course, much has already happened, i.e, there is history. Any adequate interpretation of such a site should poetically take into account the present effects of its absent past. The findings to reveal the meaning and methodology of landscape drawings in the environmental design with a case study are as follows: (1) The value of landscape drawings is the poetic, artistic interpretation which we sense and bodily experience through the simultaneous exposure of the site's temporal, spatial, and tactile conditions. (2) The landscape drawing should represent the invisible (imaginary) world as well as the visible (physical) world. (3) There can be classified as two methods in representing the rich experience of a place: expression and notation. Expression is the abstract representation and do not have a direct relationship to construction due to its ambiguous and connotative structure. But notation is constructional due to it's purely objective symbol system which is obviously denotative structure. (4) Collage is a medium of specific act that can represent the complex layered phenomena and the rich experience of given site. (5) The landscape drawings represent not only topographical space which can be measured objectively, but also topic which can be cognized culturally.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.45 no.4
• /
• pp.118-130
• /
• 2017

During the landscape design process, landscape architects produce various forms of drawings to visualize the future designed landscape. This work thoroughly examines the process of the utilization of James Corner's theory and practice of representation. Since the early 1990s, Corner has explored the characteristics and functions of landscape architectural drawing theoretically. Specifically, Corner argued that the use of visual representation makes it difficult to achieve the full embodiment of all of the multisensory characteristics of a landscape. Thus, he explored new drawing techniques that alternatively visualize the landscape and generate creative ideas(i.e., imagination of drawing), rather than a realistic illustration of not-yet-actualized landscapes(i.e., instrumentality of drawing). Corner's theory has evolved throughout the mid and late-1990s as applied to landscape practice. Corner embraced ecology and implemented the theory and practice of Landscape Urbanism, thereby once again emphasizing the instrumentality of drawing. Whereas the early theory mainly explored a perspective view using collage and montage, Corner later began to stress the importance of the instrumentality again. For example, Corner employed a mapping technique based on the instrumental map and that simultaneously creatively transforms it. Corner's theory and practice of representation fully explored the identity of landscape architectural drawings and reflected the interaction between theory and practice. Thus, his design and theoretical works continue to have significant influence on present landscape practice and theory.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.45 no.5
• /
• pp.71-86
• /
• 2017

This work explores the historical transformation of manual landscape architectural drawings in terms of hybridization to uncover their inherent creative aspect. Landscape architectural drawing has duel functions; namely, scientific instrumentality and artistic imagination, which are relative, interchangeable, and transformable. These characteristics have been embodied in the forms of particular types of drawing, projections, perspective views, and diagrams, which are not so much clearly distinguishable as rather mutually complementary and hybridized. In particular, the pictorial views of plants in the forms of a perspective view or elevation were frequently hybridized to projection drawings of grounds and architectural structures, which is called planometrics. Particular drawing types have often emerged as suitable and thereby dominant forms, depending on the particular historical styles of landscape design. Sixteenth-century Italian Renaissance gardens and seventeenth-century French formal gardens were generally visualized in the form of projections. Eighteenth-century and early nineteenth-century English landscape gardens were frequently represented in a pictorial perspective view. In nineteenth-century America, different drawing techniques such as competition drawing, photography, and map overlay were specialized depending on their respective functions. Twentieth-century American modernists began to explore the diagram to deploy design strategies. In such transformation, however, the planometric, which considers both the ground plane and plant's frontal identities simultaneously and thereby is suitable to landscape design, was frequently used as a hybridization technique. In the mid-nineteenth century, a top view of plants replaced the planometric, and then, in the twentieth century, plants were no longer represented artistically, instead reduced to the forms of standardized flat symbols. The use of instrumental visualizations thereby gradually increased rather than the use of an imaginative representation for landscape architectural drawings.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.46 no.2
• /
• pp.1-13
• /
• 2018

This work discusses the major roles of digital technologies in the history of landscape architectural drawing, and offers a critique of the dominant trend towards realism in recent digital landscape representations. During the period of transition from conventional drawing tools, computer technologies generally functioned as mechanical tools to imitate prior manual techniques. Specifically, the GIS was served as a mechanical tool to efficiently process the manual layer cake; CAD software generally functioned to translate physical models to two-dimensional construction documents while graphic software generally functioned as a tool to perform processes similar to those of manual collage and montage techniques. Recent digital landscape drawings tend to adopt a realistic depiction like the painting of landscape appearance. In the representations, discernible traces of cutting and assembling are removed via graphic software; thus, the complete representations are perceived as if they were a copy of an actual landscape. The realistic images are an easy way to communicate with the public. However, it is difficult to achieve a full embodiment of all of the multisensory characteristics of a landscape through these visuals. They often deceive viewers by visualizing idealized conditions of not-yet-actualized landscapes and production of the final images takes up a large portion of the overall design process. Alternatively, 3D digital modeling of landscape performance and creative uses of digital technologies during the overall design process, as well as hybridized techniques with different drawing techniques and technologies, provide the opportunity to explore various aspects of a landscape.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.37 no.4
• /
• pp.52-63
• /
• 2009

WTO/TBT aims to reduce impediments to trade resulting from differences between national regulations and standards. Where international standards exist or their completion is imminent, the Code of Good Practice says that standardizing bodies should use them, or the relevant parts of them, as a basis for any standards they develop. Drawing is a formal and precise way of communicating information about the shape, size and, features. In addition, drawing is a part of the universal language of engineering. However there are many differences between international landscape drawing standard ISO 11091 and Korean landscape drawing practice(KLDP). The result of a comparison of ISO 11091 with KLDP and suggestions for international standardization of KLDP are summarized as follows. First, Among the 33 kinds of conventions from ISO 11091, 2 similar kinds and 15 different kinds from KLDP and 16 kinds of conventions which exist only in ISO 11091 appeared-for the international standardization of KLDP, it is necessary to make an extensive alteration of KLDP. Second, Europe Unity countries accepted ISO 11091 and are using it as their national standard for landscape drawing. Even Japan has accepted ISO 11091 on their civil engineering drawings and is using it as their national standard. Therefore, we need to hasten KS standard enactment based on ISO 1091. Third, For the KS standard of construction drawings, the degree of international standardization is rising even though there are still differences from the ISO standard. Therefore, since the burden on the international standardization of KLDP is expected to be weighed, preparations should be quickly brought about in the practice fields. Fourth, Since in the landscape planting ordinances of local independent governments is the standard presented by categorizing trees into evergreen and deciduous, such parts should be modified and introduced when enacting the KS standard based on ISO 11091. Fifth, For the enactment of the KS standard for landscape drawings, a wide range of opinions should be collected by the relevant landscape organization by installing a committee, and based on its recommendation, an application for the KS standard enactment of landscape drawing should be made to the chief of Ministry of Knowledge Economy.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.28 no.6
• /
• pp.16-28
• /
• 2001

The purpose of this study is to arrange the terminology of the drawings in Chosun Dynasty, and to investigate the characteristics of drawings after the middle of Chos n Dynasty. This study is based on the and analysis of historic documents and drawings including drawings from China and Japan. In order to accomplish this, the drawings for the process of design were studied first, and the techniques of drawing were studied next in comparison with Japanese drawing techniques. Lastly, the technicians of drawing were studied. The results of this study were as follows; 1) Though the procedures of design Choson dynasty were not divided into planning, designing, construction and maintenance just like those of modern society, a variety of drawings in that time were used in each level. 2) The drawings in Choson Dynasty ere divided into Tohyong and Tosol, and mostly, those for design and construction were Tohy ng. 3) Based on the interpretation of Japanese drawings, several suggestions were presented to solve the questions of the drawing techniques for design and construction. 4) The technicians of drawing were the painters who were trained in a government organization in charge of royal paintings. In the future, research of this area should be continued in to deepen study on drawings as historical materials. This research provides meaningful of guidance in the analysis of historic drawing paintings.

• Journal of Korean Society of Rural Planning
• /
• v.13 no.3
• /
• pp.51-60
• /
• 2007

In terms of the indicators by the type for the landscape plan per the district nit, geographic ecology indicators were the items such as water, water system, topography and climate, while biological ecology indicators were the items such as green zone size, green zone ratio, biotope size and distribution. The sensory and visual indicators were the items such as view point, view axis and skyline, and the accessibility indicator items for the green zone were applied as the socially used indicators. As for the application method according to each indicator, the water or water system was expressed and applied through the slopes and elevation topographic analysis drawings, the climate was expressed and applied through the main direction of the wind and the cold wind pass alley drawings. As for the green zone size and green zone ratio, the land use according to the status and housing area development was compared to present the measured figures. In case of the biotop size and the distribution item, the range was limited to the preparation of the biotope drawings for the focused preservation. As for the view point and view axis, the view point was selected according to the view point to prepare and apply the view analysis drawing in which the view area to be preserved is analyzed. As for the skyline, its landscape photo was composed with the housing area shape, and then skyline photography was applied as the plan in order to propose and consider the various shapes of the skyline. As for the accessibility to the peen zone, the network drawing was drawn to reflect the users' accessibility and continuity of the green zone formed and preserved according to the land use plan and then the drawing was prepared and proposed as the applicable plan.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.22 no.1
• /
• pp.111-119
• /
• 1994

Until now, Many studies on the traditional landscape architecture were approached to the interpretation of meanings and symbolism in terms of the traditional ideology and the view of nature. The purpose of this study was to research the principle of form included in the space planning by the analysis of the drawing figure. The principes of figure were presented in the space planning as the field of art. In the pavillion and square pond, drawing figure, based on the principle of simple proportions, shall be assured the value of being as a role of functions for planning first of all. Such principles of the functional aspect are in hormony and balance by proportion and thus a visual and structural aesthetic will be abled to refer.