• Korean Journal of Heritage: History & Science
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• v.47 no.3
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• pp.42-59
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• 2014

Han Pilgyo (1807~1878) was a scholar-official in the later period of the Joseon Dynasty. The research results on spatial structure and landscape techniques of the central government office reviewed through the Sukcheonjeado(宿踐諸衙圖) album collection edited by Han Pilgyo are as follows. First, Sukcheonjeado(宿踐諸衙圖) using Sabangjeondomyobeob(四方顚倒描法, a Korean traditional drawing type) is uniquely proven historical data which helps to understand the spatial structure of the center and local government offices and the characteristics of cultural landscape. Secondly, the central government office located in Yookcho(六曹) Street which is the outside Gwanghwamun(光化門) of the Main Palace(Gyeongbokgung, 景福宮) of the Joseon Dynasty has a center facility(Dangsangdaecheong, 堂上大廳) and attached buildings which are distributed from high to low or from left to right, according to its order of presidency in square-shaped portion of land. The main building was located facing south and by considering the administrative convenience, the environmental effect and the practice of Confucian norms this structure reflects a hierarchical landuse system. Thirdly, the main buildings such as Dangsangdaecheong and Hyangcheong(鄕廳), which are the working place for government officials had large square front yards for constructing a practical patio garden. The back garden was tended to reflect the meaning landscape, with such as pond and pavilion. A particular point was the repeated crossing of active space and passive space(movement and stillness, building and yard, yard and garden), which implements the Yin-Yang principle. Fourth, the characteristics that can be extracted from the central government office landscapes are (1) expandability of outdoor space, connects of front gardens, emphasizes the characteristic of serviceable gardens and back gardens, which in turn emphasizes scenic sides, (2) introduction of water features(square-shaped ponds) that can be used as fire-water and considers environmental-amenity and landscape characteristics, (3) introduction of pavilions for relaxation, mental and physical discipline, and the development of back gardens, (4) significance of Jeongsimsoo(庭心樹) in such things as selection of concise landscape plants like lotus, willow, pine, zelkova and so on, and limited plant introduction, (5) environmental design techniques which set importance on not only aesthetics and ideality but also practical value. Thus, these aspects of the government office landscape can be said to be the universality and particularity of Korean traditional landscape technique and can be extracted similarly in the palaces, temples, lecture halls, and houses of the upper class of the Joseon Dynasty.

• Journal of the Korean Institute of Landscape Architecture
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• v.37 no.1
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• pp.110-119
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• 2009

Sosang Pal-Kyung(瀟湘八景), which originated in China and means eight scenes of So River and Sang River, greatly influenced the poems and the pictures in East Asia for a long time and became a cultural phenomenon leading the stereotype of the traditional landscapes in Korea and Japan. Studies on 'Kyung(a scene)' such as 'Pal-Kyung(八景)', have been made continuously until now, but there are no results of a study intensively focusing on the meaning and the form of Sosang Pal-Kyung, which is the origin of the domestic Pal-Kyung culture. The goal of this study is to investigate the typical form observed in Sosang Pal-Kyung-Ga(瀟湘八景歌) and Sosang Pal-Kyung-Do(瀟湘八景圖), as a text of a cultural landscape, and to clear up the coherence structure between a recognition system and a way of thinking that existed in the cultural phenomenon of Sosang Pal-Kyung. In this study, the symbolism of Pal(八) was summarized and the surface structure and the correlation of each Kyung of Sosang Pal-Kyung was explained in light of semiotics through segmenting and disjointing the lexeme of a landscape while the coherence structure and the meaning of Sosang Pal-Kyung-Ga and Sosang Pal-Kyung-Do as a text were investigated. Sosang Pal-Kyung is based on the view of the Sun and the Moon(or Positive and Negative) and the Eight Trigrams(八卦) for divination and is a linguistic symbol in which human life and the principle of circulation and conversion of nature are expressed as characters and picture texts. Its structure has strong coherence and cohesion, which attempt to move the abstruse truth of nature into human consciousness by developing and corresponding the grammatical structure and form of the sentences and the implicative languages emphasizing the symbolism of the words to the characteristics of similarities and contrast. In addition, Sosang Pal-Kyung expresses human life, the processes of birth and death of nature and the mutual response dialectically by putting various factors of the landscape in the frame of regular formality and structure. It is considered that the image signs in Sosang Pal-Kyung emphasize the theory of circulation of human life and nature are narrative scenery, which one looks at with a contemplative view in the circulation system of the time and the season. The cultural phenomena of Sosang Pal-Kyung in the Joseon Dynasty, which had been handed down from the Goryeo Dynasty, had become the driving force of leading aesthetics of Joseon's art and literature by adding the scenery of the point of view of Sung Confucianism. Its coherence structure was changed, but its cohesion was handed down continuously so that it became not only the basic text of the traditional and cultural landscape but also, the typical Korean-style stereotype of a landscape.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.4
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• pp.61-72
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• 2014

Throughout analyzing and construing the words, contexts, and expressive languages used for depicting the pine tree in the novel "Honbul" written by Choi, Myung-Hee the symbolism of the pine and folksy languages used for scenery can be condensed as written below: First, it is explicit that the scenery-words for illustrating the pine tree in "Honbul" are emerged through diverse means methods and expressions. Namely, the reference forms of the pine tree and the expressive means of utilizing words portrays the use of the pine are various and subdivided. Second, the scenery-words found in vocabularies and the contexts of "Honbul" imply various symbolic representation. They not only perform to describe inherent image and symbolism of the pine, but they work for reifying the image of "Honbul" in the narrative structure in "Honbul" as being intrinsic scenery-word. Third, the scenery-words used for expressing aesthetics emerge as synesthetic expressions through the linear beauty and the texture of the pine as well as through five-senses. Forth, on the basis of the inherent symbolism and the image of the pine, the landscape of the background described in "Honbul" deems as a symbolic backdrop. As with then narrative structure of the novel, the pine tree performs as a mediation of the heaven and the earth, god and man, as well as the sacred and the secular. Fifth, scenery-words used for depicting the pine tree are a symbol that represents the spirit and emotion of the character in the novel. Moreover, it is a tool for pursuing the personification of the nature, the deification of the object, and the cosmos of the space. It is also utilized as a device that definitize the ideational image applied to express the landscape of the background of the novel. As mentioned above, the expressions, vocabularies and textures about pine tree represented from "Honbul" are expected to be the beginning of understanding the landscape-images and landscape-languages of pine in not only the setting for this novels, Namwon but also the entire districts of Korea.

• 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.

• The Journal of the Petrological Society of Korea
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• v.23 no.2
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• pp.145-152
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• 2014

Geological heritages can be defined conveniently as geological records worthy of conservation, and are represented in most cases by geological outcrops. So survey and evaluation of geologic outcrops are necessary for better conservation of geological heritages. As a measure to prevent potential destruction of geological heritages from various development projects, I propose construction of database based on survey and evaluation forms of geological outcrop, which can also be used for environmental impact assessment. The geological survey form consists of survey area, category, subcategory, location, dimension, geologic features, photo, description, and investigator. The evaluation form consists of evaluation category, detailed evaluation, comprehensive evaluation, and evaluation grade. The evaluation category is divided into academic aspect, education effect and landscape. The detailed evaluation items for academic aspects and education effect are representativeness, rarity, diversity and typicality, while those for geomorphology and landscape are peculiarity, aesthetics and naturalness. The evaluation grades are divided into five, where the first grade means a must of conservation.

• The Journal of Art Theory & Practice
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• no.13
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• pp.185-213
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• 2012

Charles Stankievech's 2011 installation LOVELAND includes a wall-sized screen depicting video footage of a barren arctic landscape in an enclosed room, painted and bathed in white light, that appears as an extension of the imaged environment. A melodic and industrial musical score emanates from multiple sound panels and as the music increases a cloud of purple smoke becomes visible on the horizon line in the distance and gradually advances toward the viewer until it completely fills the screen. The smoke then remains, rushing about madly and lapping at the border between the screen and the room before it suddenly subsides and the spectator is again left with the desolate landscape. The entire process takes a mere five minutes and then, fixed on an endless loop, begins again. This paper positions LOVELAND as an attempt to simulate a sublime experience of the end of the world through a transposition of the Arctic atmosphere into the gallery space. Encompassing a discussion of the historical and contemporary significance of the Arctic in popular culture, aesthetics and environmental politics, it is suggested that Stankievech employs an apocalyptic trope in reference to the unstable position of the North in the current political and ecological climate. Revisiting critiques of modernist exhibition practices and investigating the perceptual and temporal dimensions of the work, this analysis focuses primarily on the experience of the installation's spectator. Visually, aurally and phenomenologically immersed, the viewer is made subject to, and implicated in, the events unfolding on the screen and within the space. Due to the looping of the video footage, this paper argues that the apocalypse imaged in LOVELAND is presented as an endless event - incessantly enacted, yet infinitely deferred - and that the spectator is enveloped in an uncertain and unceasingly extended present moment.

• Journal of the Korean Institute of Landscape Architecture
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• v.24 no.2
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• pp.25-42
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• 1996

During the last two and a half decades, philosophical interest in the aesthetics of nature and environment has been gained momentum. One of the most coherent theories in this arena of debate has been developed over a series of articles by Allen Carlson. The purpose of this paper is to examine Carlson's theory critically and suggest an alternative aspect that remains untouched by his model. Briefly stated, Carlson's view of the appreciation of nature is that it is a matter of under standing nature under suitable scientific categories. His argument, based on the objectivist epistemology, is basically a disjunctive syllogism : a) The concept of appreciation, derived from traditional disinterestedness and Stolnitz's aesthetic attitude, provides an insight into the explanation of aesthetic appreciation of nature, and is objectivistic in the light of its object-oriented character. b) Nature must be appreciated as nature itself, and the natural environmental model is the appropriate loci of our nature appreciation. c) The paradigmatic form of our nature appreciation is order appreciation. d) There can be a correct and objective aesthetic judgment of nature, and the sources of guiding categories pertinent to it is natural science and natural history. In regarding nature as an environment and as natural, his natural environmental model is meaningful. Nevertheless, his stance results in some serious problems : a) The natural environmental model excludes certain very common appreciative responses to nature-responses of a less intellective, more visceral sort. Therefore, the arousal model with appropriate emotions might be one of our characteristic forms of nature appreciation. b) Even if we consider the scientific knowledge as an objective source of our nature appreciation, this gives rise to the question of whether the natural science can be objective or not. Is there an objectivist aesthetic appreciation of nature\ Does aesthetic appreciation of nature need to be science-based\

• Journal of recreation and landscape
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• v.12 no.4
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• pp.25-33
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• 2018

The purpose of this study is to establish how community garden spaces should be used to restore communities engaged in village-rehabilitation projects. To achieve this purpose, we have analyzed the perceptions of local residents conducting a town-development project. The community reviewed the benefits of having a garden to improve the residents' quality of life and comfort. Given the role of gardens in revitalizing communities, it is necessary to build spaces where residents can relax and enjoy community life. Those who participated in this study hoped that their community garden would provide shade and relaxation, a children's play area, green spaces, and places for conversation. The space and facilities provided by community gardens vary, in accordance with the expectations and needs of each community. It is therefore inappropriate to apply uniform garden designs to all community gardens. Between 20% and 25% of a community garden should be allocated to each of the following: community space, ornamental space, and space for relaxation. As plants that provide shade and help to maintain the ecosystem are strongly preferred in community gardens, all plants should be chosen for their environmental benefits and functionality, rather than aesthetics. Residents may be willing to participate in a range of activities, including community events, the cultivation of plants, and garden management. Towns must therefore set up programs to support these activities. It is essential to continue studying and investigating the formation of community spaces and facilities, reflecting the characteristics of each community.

• Journal of English Language & Literature
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• v.57 no.4
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• pp.553-580
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• 2011

This article addresses how the British Empire administered the discipline of space in nineteenth century Ireland. Space control is a part of modern disciplinary practices. I approach this issue in light of the two modern mapping of space: the geometric mapping of space and the Romantic mapping of space. The former, as seen in map-making, is characterized by imposing a standardized, stratified grid on space by eliminating local characteristics of nature. On the other hand, the latter, as shown in picturesque landscaping, aims to balance a close-up observation of nature and a far-sighted view of it, with the result of creating an ironic tension of local diversity and perspectival totality. These modern disciplinary projects of space repeat themselves in the British management of the colonized Irish territory. As the British conquer other lands, they put to good use both geometric and Romantic disciplinary methods of space. Supervising the Ordnance Survey of Ireland from 1824 to 1846, Thomas Frederick Colby, British Director of Ordnance Survey, made a mathematically strict and scientific mapping of Ireland as a scale of six inches to one mile. Parallelled to this geometric colonization of space, the Romantic colonization of space is efficiently used for the Empire's management of Ireland as well. British tourists and pro-unionist Anglo-Irish landed gentries transform it into the nature of picturesque beauty; Ireland's wild boglands turn aesthetically into desolate but beautiful scenery. Picturesque landscape in England is reborn as an aesthetics of desolation in Ireland.

• Journal of the Korean Society of Environmental Restoration Technology
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• v.24 no.4
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• pp.61-75
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• 2021

Roadside greenery in the city is not only a means of reducing fine dust, but also an indispensable element of the city in various aspects such as improvement of urban thermal environment, noise reduction, ecosystem connectivity, and aesthetics. However, in studies dealing with the effect of reducing fine dust through trees in existing urban spaces, microscopic aspects such as the adsorption effect of plants were dealt with, structural changes such as the width of urban buildings and streets, and the presence or absence of trees, Impact studies that reflect the actual form of In this study, the effect of greenery composition applicable to urban space on PM2.5 was simulated through the microclimate epidemiologic model ENVI-met, and field measurements were performed in parallel to verify the results. In addition, by analyzing the results of fine dust background concentration, wind speed, and leaf area index, the sensitivity to major influencing variables was tested. As a result of the study, it was confirmed that the fine dust reduction effect was the highest in the case with a high planting amount, and the reduction effect was the greatest at a low background concentration. Based on this, the cost of planting street green areas and the effect of reducing PM2.5 were compared. The results of this study can contribute as a basis for considering the effect of pedestrian space on air quality when planning and designing street green spaces.