• Title/Summary/Keyword: Landscape aesthetics

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A Study on the Architectural Method of Mus${\bar{o}}$ Soseki (무소오 소세키(夢窓疎石)의 작정기법)

  • Choi, Mi-Young;Hong, Kwang-Pyo
    • Journal of the Korean Institute of Traditional Landscape Architecture
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    • v.31 no.3
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    • pp.45-53
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    • 2013
  • The purpose of this thesis is to identify the gardening method of Mus${\bar{o}}$ Soseki by looking into his works. Through this research, life and religious values of Soseki were studied, which gave a better understanding of the garden architect as an individual and seeker of religious truth. Among his works, the most widely known-four ponds, Eiho-ji, Erin-ji, Saiho-ji and Tenryu-ji were studied. The research found that based on the Zen of Buddhism, Soseki symbolized various philosophical ideas into space structures. In addition, through two gardening components, stone buildings and tributaries, he specifically materialized related themes. An absolute religious aesthetics of the creator could be found in the stone buildings that expresses the world of Buddhism and the Chinese letter 'Sim'(heart)-shaped tributaries. By experimenting new method away from a Chinese-style Japanese garden which was widely popular during his time, Soseki devised a garden as residential quarters of a high priest that can be set aside entirely for Zen-study, which became to represent Japanese garden style. If Soseki's gardening method had not been adopted, Japanese gardens could not have been developed as a personal garden that contains symbolic concepts. Unfortunately, in this study, to think of another Zen monk and Mus${\bar{o}}$ Soseki did not study is to compare. also the study on how another Zen monk and Mus${\bar{o}}$ Soseki's compare has to be continued.

The Satisfaction Analysis of Mount Tai Mountaineering Road Sign System Using Fuzzy Comprehensive Evaluation (퍼지 종합 평가를 활용한 태산(泰山)등산로 사인시스템 만족도 분석)

  • Yu, Ying;Jung, Taeyeol
    • Journal of the Korean Institute of Landscape Architecture
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    • v.48 no.3
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    • pp.22-33
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    • 2020
  • Sign system is one of the most widely used guide media in scenic spots. It plays vital role in introducing cultural values of destinations to tourists with better visit experience. The purpose of this study is to derive the influence factors of the sign system of Mount Tai scenic area for tourists, analyze the satisfaction of tourists, and provide suggestions for the sign system of Mount Tai Mountaineering Road to improve tourists' satisfaction in the future. The evaluation items of Mount Tai Mountaineering Road sign system were derived from the previous studies and then subdivided comprehensively. Survey by questionnaires was carried out to obtain the influence factors. In order to understand the satisfaction degree of tourists, fuzzy comprehensive evaluation was implemented. The research results of this study are summarized as follows. First, four influence factors of the sign system on Mountaineering Road of Mount Tai were concluded as the interpretation content, appearance modeling, interpretation methods and layout management. Second, the order of weight values of influence factors was the interpretation content, appearance modeling, interpretation methods and layout management respectively from high to low, which means that tourists paid more attention to practicality and aesthetics. Third, the satisfaction degree of the tourists on the sign system was different. The satisfaction level for the three factors (interpretation content, appearance modeling, layout management) was good, while the satisfaction for interpretation method was medium. The reason was that it failed to deepen the understanding of tourists on the natural and cultural values of Mount Tai Mountaineering Road. These results indicate great significance to provide theoretical basis for the later readjustment and design of the sign system and to improve the overall satisfaction of tourists on tourism experience.

Study of the Image Design Components of Urban Landscape Media Facade (도시경관 미디어파사드의 영상디자인 구성요소 연구)

  • Yu, Jung-Sun;Chung, Jean-Hun
    • Journal of the Korea Academia-Industrial cooperation Society
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    • v.15 no.11
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    • pp.6478-6483
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    • 2014
  • Media facades project images on the external walls of a building as a screen. Such facades can recover the cultural emotions of users tired of a high level of market competition in urban spaces and develop into urban aesthetics and be reinterpreted as an image design as the city becomes a topic as well as the target projected. From a cultural perspective, the artistic possibility and strengthening of publicness of media facades are discussed. One of the considerations is that it should be the medium communicating with the building or surrounding of the projected target. Urban landscape media facades, such as 2014 Gwanghwamun media facade, 2014 Sejong Center for the Performing Arts media facade and 2013 Namsan media facade were compared and analyzed. As a result, four types of image design components could be derived such as motifs, concepts, stories and projection types. Media facade, which is establishing itself as a new technological genre beyond canvas and theater screens, should contain messages, themes and technological advances as a higher level of the urban symbolic art form in the future. This paper derived the components of image design through the comparative analysis of symbolic urban landscape media facade.

An Analysis of the Image Factor and Combination of Xi'an Castle Park in China (중국 서안시 성곽공원의 이미지 요인 및 조화도 분석)

  • Kim, Dong-Chan;Ma, Yuan
    • Journal of the Korean Institute of Traditional Landscape Architecture
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    • v.28 no.4
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    • pp.105-111
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    • 2010
  • This research aims to grasp the main factors of the image of Xi'an Ming City Wall Park and the harmony level with city walls and moat based on citizen's consciousness to improve the future design, field survey and the POE method are employed to analyze the image factor and harmony level of the Xi'an Ming City Wall Park. In the literature survey, the related materials were collected to obtain the most useful information for references, POE study of the Xi'an Ming City Wall Park were conducted. The instrument for survey is a questionnaire that includes a portion of questions regarding Xi'an Ming City Wall Park and the design intention of the surroundings of city wall. Data were analyzed using the Statistical Package for the Social Science (SPSS17.0 for Windows). Multiple regression analysis, and correlation analysis were employed along with the use of general descriptive data analysis. The factor analysis of the image of Xi'an Ming City Wall Park identified three factors, "environment" factor, "convenience" factor, "cultural aesthetics" factor, and the most important factor is "environment" factor. Among 14 landscape elements, paving, garden architectures and entrance spaces were identified as important variables which significantly affect the overall level of harmony with the city wall, and the space for rest; waterscape and paving were identified as important variables which significantly affect the overall level of harmony with the moat.

A Basic Study on the Elevation Form of the Burial Mound of the Royal Tomb of Joseon Dynasty (조선왕릉 봉분의 입면 형태에 대한 기초연구)

  • Lee, Jong-Keun;So, Hyun-Su
    • Journal of the Korean Institute of Traditional Landscape Architecture
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    • v.42 no.1
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    • pp.22-34
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    • 2024
  • The following are the results of this study, which examined changes in the size of the burial mounds of the 61 Joseon Dynasty royal tombs and the perception of the formative aesthetics of the burial mounds' elevations. First, the diameter of the burial mounds of the Joseon Dynasty royal tombs at the time of their construction was 7.08 to 10.78m. Among the three types of burial mounds, the formal burial mounds with a folding screen-like stonework were large, the burial mounds without stonework were mostly small, and the burial mounds with railing stone-like stonework varied in size. Second, the highly intensive management and repair activities from the Joseon Dynasty to today changed the size and shape of burial mounds. As a result, the size of the burial mounds is now 7.30 to 16.70m. Third, compared to the construction time, the diameters of most of the burial mounds with railing stone-like stonework and without stonework mostly increased. At the same time, there were cases where the diameter of the burial mounds with folding screen-like stonework decreased. Fourth, while the change in the height of the burial mounds with a folding screen-like stonework was small, that of the other two types was large, which is deemed to be in the same direction as the change in the burial mound diameter. Fifth, the perception of the ideal burial mound during the Joseon Dynasty was confirmed because the elevation of the burial mound described in 「Gaesu Dogam Uigwe (Renovation Office Protocol)」 is higher than the information recorded in numbers. Sixth, the Cultural Heritage Administration's managers chose more diverse burial mounds as ideal shapes than the expert group. The burial mounds most frequently selected by the Cultural Heritage Administration staff were lower in height than those selected by the expert group, showing a managerial tendency. In contrast, the expert group preferred the shape of the burial mounds with a high height and a rounded top.

Aesthetic Experience of Streetscape in Syarosu-gil as Urban Commercial Alleyway (도심 골목상권으로서 샤로수길 가로 경관의 미적 경험)

  • Lim, Hansol;Pae, Jeong-Hann
    • Journal of the Korean Institute of Landscape Architecture
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    • v.49 no.5
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    • pp.125-137
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    • 2021
  • How can we explain the phenomenon of small, old alleyways in the city becoming rising commercial places attracting people from an aesthetic perspective? This research discusses distinctive aesthetic experiences of urban commercial alleyways, which are located on inner roads and consist of small-scale stores and explore the specific aspects of Sharosu-gil, located in Gwanak-gu, Seoul. The aesthetic experience of urban commercial alleyways is generated by the contrast with the refined urban fabric along main roads in terms of space, the gap between the old and the new, and the antagonism between the known and the less known. The approach to Sharosu-gil consists of the high-rise buildings along the main road built in the 2000s, then encountering low-rise buildings on inside roads built from the late 1970s to the present. Therefore, it is judged that the site has sufficient conditions to generate the aesthetic experience as an urban commercial alleyway. As a result of analyzing the street improvement projects, first, the official announcement of the name 'Sharosu-gil' was interpreted as an escape from the place specificity and garnered the acquisition of the characteristics of an alternative. Secondly, the improvement project for old-established signboards was interpreted as harmony between the new and the old and the loss of temporality. Thirdly, in the pedestrian priority road project, the pavement was interpreted as a reinforcement of the identity as an alleyway and the visualization of the area. Since the reality of urban commercial alleyways depends on the user's visiting, it is necessary to interpret alleyways from the perspective of the senses and aesthetics, not just from social phenomena or capital logic perspective. The study will cast implications for relevant schemes and data-driven research.

A Study on Plant Symbolism Expressed in Korean Sokwha (Folk Painting) (한국 속화(俗畵)(민화(民畵))에 표현된 식물의 상징성에 관한 연구)

  • Gil, Geum-Sun;Kim, Jae-Sik
    • Journal of the Korean Institute of Traditional Landscape Architecture
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    • v.29 no.2
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    • pp.81-89
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    • 2011
  • The results of tracking the symbolism of plants in the introduction factors of Sokhwa(folk painting) are as the following. 1. The term Sokhwa(俗畵) is not only a type of painting with a strong local customs, but also carries a symbolic meaning and was discovered in "Donggukisanggukjip" of Lee, Gyu-Bo(1268~1241) in the Goryo era as well as the various usage in the "Sok Dongmunseon" in the early Chosun era, "Sasukjaejip" of Gang, Hee-mang(1424~1483), "Ilseongrok(1786)" in the late Chosun era, "Jajeo(自著)" of Yoo, Han-joon(1732~1811), and "Ojuyeonmunjangjeonsango(五洲衍文長箋散稿)" of Lee, Gyu-gyung(1788~?). Especially, according to the Jebyungjoksokhwa allegation〈題屛簇俗畵辯證說〉in the Seohwa of the Insa Edition of Ojuyeonmunjangjeonsango, there is a record that the "people called them Sokhwa." 2. Contemporarily, the Korean Sokhwa underwent the prehistoric age that primitively reflected the natural perspective on agricultural culture, the period of Three States that expressed the philosophy of the eternal spirits and reflected the view on the universe in colored pictures, the Goryo Era that religiously expressed the abstract shapes and supernatural patterns in spacein symbolism, and the Chosun Era that established the traditional Korean identity of natural perspective, aesthetic values and symbolism in a complex integration in the popular culture over time. 3. The materials that were analyzed in 1,009 pieces of Korean Sokhwa showed 35 species of plants, 37 species of animals, 6 types of natural objects and other 5 types with a total of 83 types. 4. The shape aesthetics according to the aesthetic analysis of the plants in Sokhwa reflect the primitive world view of Yin/yang and the Five Elements in the peony paintings and dynamic refinement and biological harmonies in the maehwado; the composition aesthetics show complex multi-perspective composition with a strong noteworthiness in the bookshelf paintings, a strong contrast of colors with reverse perspective drawing in the battlefield paintings, and the symmetric beauty of simple orderly patterns in nature and artificial objects with straight and oblique lines are shown in the leisurely reading paintings. In terms of color aesthetics, the five colors of directions - east, west, south, north and the center - or the five basic colors - red, blue, yellow, white and black - are often utilized in ritual or religious manners or symbolically substitute the relative relationships with natural laws. 5. The introduction methods in the Korean Sokhwa exceed the simple imitation of the natural shapes and have been sublimated to the symbolism that is related to nature based on the colloquial artistic characteristics with the suspicion of the essence in the universe. Therefore, the symbolism of the plants and animals in the Korean Sokhwas is a symbolic recognition system, not a scientific recognition system with a free and unique expression with a complex interaction among religious, philosophical, ecological and ideological aspects, as a identity of the group culture of Koreans where the past and the future coexist in the present. This is why the Koran Sokhwa or the folk paintings can be called a cultural identity and can also be interpreted as a natural and folk meaningful scenic factor that has naturally integrated into our cultural lifestyle. However, the Sokhwa(folk paintings) that had been closely related to our lifestyle drastically lost its meaning and emotions through the transitions over time. As the living lifestyle predominantly became the apartment culture and in the historical situations where the confusion of the identity has deepened, the aesthetic and the symbolic values of the Sokhwa folk paintings have the appropriateness to be transmitted as the symbolic assets that protect our spiritual affluence and establish our identity.

New method environment for art design of nanocomposite brick facade of the building

  • Jie Xia;Gholamreza Soleimani Jafari;F. Ghoroughi
    • Steel and Composite Structures
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    • v.51 no.5
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    • pp.499-507
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    • 2024
  • The paper delves into an emerging paradigm shift in architectural design, focusing on the development of a cutting-edge methodological framework for the artistic enhancement of nanocomposite brick facades in building construction. This innovative approach represents a fusion of art and science, harnessing the potential of advanced nanotechnology to redefine the aesthetic and functional properties of building exteriors. Central to this new methodology is the integration of state-of-the-art materials and fabrication techniques, aimed at not only elevating the visual appeal of architectural structures but also enhancing their structural robustness and environmental sustainability. By leveraging the unique characteristics of nanocomposite materials, the proposed method opens up new possibilities for pushing the boundaries of traditional brick facade design. Through a meticulous exploration of the intricacies involved in implementing this novel approach, the paper elucidates the transformative impact it can have on the architectural landscape. By marrying creativity with technical precision, the method environment for art design of nanocomposite brick facades promises to usher in a new era of sustainable, visually captivating, and structurally resilient building facades that are poised to redefine the very essence of architectural aesthetics.

The Influence of Service Scape in Franchise Fast Food Restaurants on the Attitudes and Revisit Intentions of the MZ Generation

  • Moo-Ung SON;Seunghyeon LEE;Seong Soo CHA
    • The Korean Journal of Food & Health Convergence
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    • v.10 no.4
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    • pp.1-8
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    • 2024
  • This study investigates the impact of servicescape elements in franchise fast food restaurants on the attitudes and revisit intentions of Generation MZ. Employing a mixed-methods approach, we surveyed 231 MZ consumers across five major urban centers. Our findings reveal that ambient conditions, spatial layout, and technology integration significantly influence MZ consumers' perceptions and behaviors. Specifically, sustainability-oriented design, customizable spaces, and seamless digital integration emerged as key drivers of positive attitudes and increased revisit intentions. Furthermore, we identify important generational differences, with Gen Z placing higher importance on Instagram-worthy aesthetics and contactless service options compared to Millennials. This research contributes to servicescape theory by proposing a novel framework tailored to MZ consumers in the fast food context. It offers practical implications for franchise operators seeking to attract and retain this crucial demographic. Our study highlights the evolving preferences of younger consumers and underscores the need for adaptable servicescape strategies in the fast food industry. The results suggest that franchises investing in environmentally conscious designs, flexible spaces, and cutting-edge technology are likely to see improved customer satisfaction and loyalty among MZ consumers. Future research could explore the long-term effects of these servicescape elements on brand perception and market share within the competitive fast food landscape.

A Study of the Implemented Korean Traditional Garden Design Elements on Tashkent Seoul Park (타슈켄트 서울공원 설계과정에서 구현된 한국정원 설계요소 고찰)

  • Shin, Hyun-Don
    • 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.