• 한국조경학회지
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• 제31권1호
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• pp.1-10
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• 2003

The purpose of this study is to categorize a landscape adjective list for urban landscape analysis. For this purpose, four methods are used. The first method is to survey the foreign landscape adjective lists such as Feimer's EACL & LACL, VRM suggested vocabulary, and IEA and LI's aesthetic factors, which are commonly used in domestic research. The second method is to analyze vocabulary in Korean linguistic textbook the third is to investigate Korean adjective lists from 36 domestic research. The last is to survey adjectives used to express the urban landscapes. 24 landscapes from BunDdang, GwaCheon, YakSoo and ApGuJeong were presented to 40 subjects, whose responses were collected and categorized. The frequency analysis of the adjectives and landscape factors were processed by SJTOOL, which was programmed for Korean vocabulary analysis. The results of this study can be summarized as follows: Foreign adjective lists were mainly focused on the physical features of landscapes and they also had linguistic problems caused by the translations. Therefore, it is undesirable to use the foreign adjective list directly to analyze Korean urban landscapes. The vocabulary from the linguistic textbook has more variety, but it includes many adjectives irrelevant to the urban landscape. More types of adjectives were used in the researches(890 adjectives/295 types), compared with the result of response survey(1,406 adjectives/270 types). Because some adjectives were partly confusing, it is desirable to categorize the adjectives. The categorized adjectives could therefore be more useful and practical for urban landscape analysis.

• 한국조경학회지
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• 제32권6호
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• pp.68-81
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• 2005

The styles of contemporary landscape design have diversified since the emergence of Postmodernism in landscape architecture. The diversification was mostly influenced by contemporary fine arts and architecture. This study examines the pluralistic development of Postmodern landscape design through the investigation of the influences from those sister arts. In this point of view, the main approaches of Postmodern landscape design are thought to be classified into three categories;'the formal abstract approach', 'the figurative approach' and 'the new picturesque approach'. The first category of the formal abstract approach was formulated with the concepts and vocabulary of Minimal Art and Installation Art. Its representative icons such as 'point grids' and 'stripes', and the main concepts such as the sense of 'flahess', 'expansion' and 'materiality' are mostly thought to be originated from these art forms. The second category of the figurative approach is characterised by the concepts and vocabulary of Pop Art and New Image Paintings. Its representative icons such as 'map' or 'figurative forms' and main concepts like the sense of 'reality', 'context' and 'symbolism' are mostly thought to be originated from these art forms. The third category of the new picturesque approach was formulated with the concepts and vocabulary of Land Art and Late Deconstructive Architecture. Its representative icons such as 'hybrid', 'layer' and 'fold', and the main concepts such as the sense of 'complexity', 'continuity' and 'reversibility' are thought to be originated from these art forms. The research shows that the main stream of contemporary landscape design seems to be gradually moving toward the second and third approach above, in step with the cultural orientation and the dynamism of contemporary urban life. Therefore, the study focused especially on the new picturesque approach which would be in greater need for coping with the hybrid culture today.

• 한국조경학회지
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• 제22권4호
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• pp.43-62
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• 1995

This paper is to define what characteristics of modern landscape architecture are in terms of garden design. It is important to understand the characteristics of modern landscape architecture, not only for practical design works but also for design ideology. The characteristics were investigated by anlayzing several crucial drawings of modern landscape architects from the later ninteenth century to the early twentieth century. It is found that modern landscape architecture had been evolved after Neo-classicism in its design language, use of materials and principles. And modern landscape architecture was formulating its own design language not only by borrowing the language from other design fields, such as modern architecture but also by making own vocabulary itself the characteristics of modern landscape architecture were defined as collapse of genre, organic structure, pictorial composition, change of living thing, including those of modern architecture. Modern landscape architects drew their humanistic image on "the garden palette" which pursued artistic sense of creation.

• 한국공간정보시스템학회:학술대회논문집
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• 한국공간정보시스템학회 2004년도 춘계 학술발표회 논문집 제1권1호(통권1호)
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• pp.197-205
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• 2004

A vocabulary for a understanding bridge has a different scope. There are the urban setting, landscape, lightness, from minimum to maximum, continuity, material, erection, motion and dynamic. Aesthetics criteria of footbridge design are movement and grace, space and experiment, symbolism, iconic, sculpture, innovation, spectacle, lighting, gemetry and wonder. New structural concepts of pedestrian bridges are presented on examples of recently built structures. The main characteristics of described structures are appropriateness, humanity, structural efficiency and aesthetics.

• 농촌계획
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• 제25권4호
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• pp.129-149
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• 2019

This study is to give a three-dimensional view of the concept of rurality and ruralness in terms of time-span, perceived object and awareness level. In the precedent studies ruralness or rurality has been approached as the category of usefulness resources called amenity. This overlooked the perceived representation, institutional reference and rurality of ideological values. Rurality appears as a cumulative representation of being rural from the past to the present, but ruralness exists as a desirable form or value for the future. Through this study, it has been analyzed that ruralness consists of six realms such as environment, community, self-reliance, aesthetics, enjoyable amenity and settlement, and of three or four sub-realms by each amounting to 20 in total. According to the vocabulary listing by the survey to 30 experts, rurality for the past-present is mainly imagined as of natural environment, agriculture, landscape, and community history, while ruralness for the future is frequently described as of communities, settlement and self-reliance by number of references. Through the vocabulary extraction, 17 words in the level of mid-conception are induced including ecology, comfort, history, agriculture, landscape, place, culture, convenience, etc. In conclusion the concept of ruralness along with rurality could be organized into three different layers of perception consisting of representation, norms and usefulness.

• 한국실내디자인학회논문집
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• 제22권2호
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• pp.58-67
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• 2013

The methods used in this study included investigation of media facades used for landmarks in downtown areas in previous studies, visits to these areas, and recording of media facades. The changes in the colors or the size of buildings were analyzed among the recorded cases and 12 of these cases were selected for further study. The sensibility preference of the media facades was evaluated by sorting the 12 kinds of media facades, and providing them as materials to a group of 60 participants (40 undergraduate and 20 graduate students majoring in architecture and design) consisting of an equal proportion of males and females. This study addressed the following four_stage questions: 1) Five questions of recognition evaluation about media facades and the cognitive evaluation items of emotional vocabulary and color preference in each research case; 2) sensibility preference items regarding the media facade color design; and 3) design evaluation items of the media facades; 4) Video clips and still images were recorded from a middle distance at 7p.m to 11p.m. in central New York, Singapore, Seoul, and Beijing. The participants looked at the changes in colors through the video clips in each case and evaluated their preferences through 23 pairs of emotional vocabulary items using system dynamics. Construction of an emotional vocabulary followed, based on previous studies about media facades and color design. To evaluate the sensibility preference and the perceived representative colors of the media facade, this study suggests new emotional responses that depended on the color emotional vocabulary of light in the LED lighting technical evaluation methodology. A media facade with a moving change of colors, unlike a fixed landscape color design, suggests a new communication method based on architectural factors. New architectural color coordination can be presented for urban landscapes at night. Designs that factor in the pedestrians' emotional vocabulary or preference should take precedence over the use of high luminance and various colors.

• 한국조경학회지
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• 제25권3호
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• pp.111-123
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• 1997

In order to understand the spatial forms of stream, this study aimed to typify stream microtopography through the collection of common names of topography determined by fishermen and to describe stream landscapes by using these typology. The seventeen stream microtopography names were sorted out and divided into three types : the streamside space which includes Kaeul-jari, Hapsu-mori, Cholpyok-jidae, Kyekok-jidae and Korpuri, stream plate which includes Youl, Mulgol, So and Ungdongi, and streambed materials which includes Ampan-jidae, Pawi-jidae, Dolpat-jidae, Chagal-jidae, Chanchgal-jidae, Moraetop, Kamtang-padak and Suchodae. The spatial characteristics of stream microtopography landscape were described according to the comparison of landform, the support of fishing, accessibility, viewpoint and eye-catching degree. The tipification of stream microtopography and their symbolization will offer a rich vocabulary to describe diverse spatial forms of stream.

• 한국전통조경학회지
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• 제39권4호
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• pp.1-9
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• 2021

이 연구는 전통 조경의 개념 정의와 적절한 영문표기를 확인하고자 연구를 진행하였으며, 적절한 개념의 확인을 위해 국제 문서에서 쓰인 관련 용어를 종합하고, 국제권 연구에서 쓰이는 용어의 의미를 고찰하였다. ICOMOS의 '역사적 정원에 관한 헌장(플로렌스 헌장, 1981), ICOMOS와 IFLA의 '역사적 도시공원에 관한 문서(뉴델리, 2017)', '역사도시경관에 관한 유네스코 권고(파리, 2011)'를 분석하여 개념을 고찰하고, 정의, 공간과 대상, 가치와 활동을 설명하는 용어를 정리하였다. 전통조경 관련 국제권 연구는 ScienceDirect에서 역사 문화와 관련된 traditional, historic, cultural, classical, vernacular와 조경 관련 garden, park, landscape를 포함하는 연구 논문을 취합하여 각 용어가 어떤 성격으로 사용되는지를 살피고, 조경의 역사문화성을 표현하기 위한 적합한 명칭이 무엇인지 고찰하였다. 연구의 결과, 국제 문헌에서는 '역사적(historic)' 정원·공원을 명시하고 있었으며, 전통(traditional) 조경은 한국만의 독창적인 디자인과 조성기법, 생태적 의미를 표현하는데 적합하며, 역사(historic) 조경은 조경사적인 의미의 정원·공원을 설명할 때 적합하다고 판단된다.

• 헤리티지:역사와 과학
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• 제55권4호
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• pp.212-240
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• 2022

문헌연구와 고서화 도해 그리고 현장연구를 통해 중국 강희제가 읊은 「승덕 피서산장 삼십육경(承德 避暑山莊 三十六景)」(이하 「강희36경」) 제영시(題詠詩)의 분석과 해석(解釋)을 통해 「강희36경」에 담긴 경관 특성과 함의를 추적한 결론은 다음과 같다. 「강희36경」은 팔경시의 외연(外緣)을 연장한 것으로, 기존의 「팔경시」나 <팔경도>와 비교해 볼 때 '대상 중심'이 아닌 '시점(시점장) 중심'의 경관 형상화가 두드러진다. 그 결과 전(殿)과 정(亭) 등 9개 유형의 건축물을 시점으로 구조화된 경관 틀짜임을 지향하였다. 특히 호박구에 입지한 여의주는 중국의 저명한 원림과 산수시 및 산수화의 정수(精髓)만을 모은 집금식(集錦式) 배치와 구성을 통해 원중원(園中園)의 성격을 부여하였다. 표제어 분석 결과, 제영시에 등장하는 경관요소는 수체류(水體類) 14개 경(38.9%), 지형지모(地形地貌)와 관련된 산체류(山體類) 13개 경(36.1%)으로 이들 요소의 비중이 월등히 높았으며, 건축·토목류는 3개 경(8.3%), 천공류(天空類)는 2개 경(5.6%)으로 분류되었다. 제영시에서는 기후풍토요소에 대한 경관어휘(景觀語彙)의 언급이 압도적으로 두드러졌는데 특히 표제어에서는 구름(雲)과 바람(風)이 대표적 경관어휘로 드러났다. 뿐만 아니라 운(雲)·수(水)·천(泉)·청(清)·파(波)·류(流)·풍(風) 그리고 무서(無暑) 등과 같은 '청량(淸涼)'을 상징하는 시어가 높은 빈도로 출현하고 있음은 우연이 아니며, 이는 열하(熱河)의 지역성 및 피서산장의 장소성과 강하게 밀착되어 있음을 보여준다. 계절 배경이 확인된 23개 경중에서 하경(夏景)이 과반수로 비중 있게 묘사되는 점이나 피서산장 일원의 청랭성(淸冷性)으로 집약되는 기후풍토요소가 입체적이고 다의적으로 묘사되고 있음은 경관 주체인 강희제의 원림 향유 시기와 관련 깊은 것으로 보인다. 더불어 제영시에 등장하는 다수의 동식물 경관은 휴양은 물론 관상과 수렵의 공간 속성과도 동일한 맥락으로 보인다. 한편 제영시에는 고시(古詩), 전고(典故), 고화(古畫) 등을 통해 명인(名人)과 명저(名著)를 인용한 경이 33개(91.7%) 경에 이를 정도로 상고성(尙古性)의 경향이 두드러진다. 이는 경관 주체인 강희제의 중국 전통문화에 대한 이해와 자부심을 바탕으로 한 것으로 추론된다. 「강희36경」에는 가경(佳景)에 의탁(依託)된 심정에 대한 서경적 묘사뿐만 아니라 근정애민(勤政愛民) 정신, 자강불식(自强不息)과 권학(勸學) 정신 그리고 모친에 대한 공경(恭敬)과 효(孝)의 정서가 깊이 내포되고 있다. 궁극적으로 「강희36경」은 피서산장의 실경(實景)은 물론 의경적(意境的) 차원을 다층적이고 입체적으로 보여줌으로써, 황가원림의 품격과 문인의 정서를 바탕으로 한 황제로서의 기개(氣槪)를 드러내고자 한 제황적(帝皇的) 집경(集景)이라 할 만하다.

• 한국전통조경학회지
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• 제36권1호
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• pp.20-33
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• 2018

본 연구는 서양인들의 시각에서 조선이 근대화되기 시작한 19세기말 조선의 경관을 조명하는데 목적이 있으며, 서양인들의 경관 관련 기록의 역사적 의미를 도출하고 이에 대한 경관의 유형화 및 그들의 인식을 분석한 결과는 다음과 같다. 첫째, 당시 조선을 방문했던 서양인들은 조선의 역사적, 정치적 상황에 개입되거나 오랜 기간 여행을 통해 조선의 문화를 이해하고 있으며, 이에 대한 설명이 여러 저서에서 공통으로 확인되는 점은 그들의 기록을 통해 당시의 경관을 조명하는 과정이 유의한 것으로 보인다. 둘째, 서양인들의 기록에 나타나는 조선의 경관은 소도시 및 마을, 자연환경, 명승 고적, 근대시설, 경작지 등이 주로 언급되었다. 소도시 및 마을은 허름한 뒷골목과 빼곡히 들어선 가옥들이 주로 언급되고 있으며, 자연경관은 산악경관과 해안 및 하천을 따라 펼쳐지는 다양한 지형경관과 주변식생이 확인되었다. 궁궐과 산성, 사찰 등은 명승 고적의 주요 대상으로 기록되었으며 근대화된 시설에는 외국인 공사관 및 거류지, 교회나 학교 등의 서양식 건축이 언급되고 있었다. 경작지는 낙후되고 방치된 모습이 확인되었으나, 조망구도가 넓어질수록 평화롭고 번창한 분위기의 농촌경관으로 비춰지고 있었다. 셋째, 조선에 대한 당시 서양인들의 인식은 비위생적이고 낙후된 주거환경에 대한 부정적 인식과 빼어난 산수와 수려한 명승고적, 상류층의 주택정원을 대상으로 하는 긍정적 인식이 나타났다. 근대화된 경관에 대해서는 문명화된 경관 개선이라는 점에서 긍정적 인식이 형성되었으며, 전통경관의 훼손 및 이질감에 대한 부정적 인식이 유사한 양상을 보이고 있었다.