• Journal of the Korean Institute of Landscape Architecture
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• v.41 no.3
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• pp.83-93
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• 2013

This study has been performed to analyze and consider the problems after 30 years in terms of landscape design competition process in Korea, so that it can provide the basic data, which can improve the future landscape design competition. We have used Delphi Investigation to carry out a survey that targets professionals and identifies problems. The results are summarized as follows. Firstly, the results of the analysis of Landscape Design Competition for institution theory and case studies showed that there is an issue from four perspectives which are 'method of design competition', 'guidelines for design competition', 'winner selection process', and 'design changes after winning' Secondly, the process by professional Delphi performed expert analysis, and agree with expert opinion. As a result, we derived the problems of a landscape design competition system with the 12 items. Third, in the 'design competition style', two items, the 'design competition style' and 'problem of design public offering period' had become a problem. Fourth, the 'Guidelines for design competition', 'non-hierarchical excess of the amount of instructions', 'directive determined the guidelines', and the 'provision of confusion' three items had also become a problem. Fifth, 'sex expert committee review selection process winning work', 'Problems of participation', 'examination scoring system experts lack', and 'non-landscaping' had become a problem. Sixth, 'The design of the original order' as much as possible 'design changes after the winning work' Four 'order to Comments to reduce the creativity of the design of the climate', 'original extension', 'contractor feedback of excess without the promise of frequent personnel changes', design period of the person in charge is reflected in excess item has become a problem. I considered that a continuous research on the improvement of the problems of the landscape design competition system based on the results must be performed.

• Journal of recreation and landscape
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• v.12 no.4
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• pp.79-90
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• 2018

Yesan-gun was selected to receive a "Village Community Garden Project" in 2018 to foster a sense of community and improve the urban landscape by working with neighbors to create a happy living space for residents. Yesan-gun selected Sapti Park, located in Yesan-eup, as the project site. The project was carried out through the design charrette method (an intense period of collaborative creativity) to allow residents to propose and design park concepts themselves for the community garden construction project to ensure that that the park facilities would provide something for everyone to enjoy. This study followed the actual design project that actively introduced the design charrette in planning the community garden, describing the entire design process from planning to construction and revealing how the opinions of residents were projected onto the design drawings. The purpose of the project was to advance user-participation design methods by reviewing the progress of the design charrette process and to examine how storytelling, the act of conveying ideas through a fun and persuasive story, transformed the plans for the community garden.

• Proceedings of the Korean Institute of Landscape Architecture Conference
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• 2007.10b
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• pp.15-18
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• 2007

• Journal of Korean Society of Rural Planning
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• v.15 no.2
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• pp.9-17
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• 2009

The purpose of this study is to discuss issues on how locality can be revealed through landscape planning and design especially in the local environment. Over the past decade, there has been substantial increase in architects and landscape architects working internationally. There are many that believe this may lead to a unifying global brand of design that overlooks the identity and specificity of place. This lead us to think opportunities and challenges for designers working internationally to understand and create a unique sense of place. Relations between contemporary design trend and local identity will be studied through case studies. Design strategies and languages on revealing locality will be also discussed with the Suncheon Education Culture Center project.

• Journal of the Korean Institute of Landscape Architecture
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• v.29 no.6
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• pp.62-71
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• 2002

How parks are to be made in the twenty-first century should certainly be different. This is the inevitable conclusion of the recent significant international design competition for Downsview Park in Toronto, 2000. The purpose of this critical study is to investigate new strategies for urban park design manifested in the proposals of that competition and to explore alternative ways of landscape design that could solve the recent crisis of urban parks. Tree City, the winning entry, and other final entries proclaim that city is park and park is city. In this sense, Downsview Park marks the end of traditional Olmstedian parks and the dichotomy between city(culture) and park(nature). Rem Koolhaas and Bruce Mau's Tree City will become the model for urban park design in the near future. There are three reasons for this. First, its design is a strategy rather than a form. We can interpret that Tree City is to be developed over time as directed by six strategies: grow the park, manufacture nature, 1000 pathways, sacrifice and save, curate culture, destination and dispersal. Second, it places faith in landscape as a revenue generator instead of a fiscal liability. Third, its implementation is possible with crude installation, requiring virtually no craft. Koolhaas and Mau intend for Downsview to be an environment that is never actually designed but is formed through natural succession, cultural action, and programmatical insertions. Rather than designed objects and formal solutions, their strategy is to allow the landscape to evolve with changing uses.

• Journal of the Korean Institute of Landscape Architecture
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• v.32 no.1
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• pp.139-156
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• 2004

All Papers on Ecological Landscape Degign in KILA from 1973 to 2003 are listed herein for finding research issues and trends. The emerging field of Ecological studies of landscape design is based on Landscape Ecology and Watershed Ecology, the Principles of which can be applied to surveying and evaluation, Planning and design, construction and management focusing preservation of wildlife habitat and niche. This field can be classified into six categories: 1. Sustainable site planning and index, 2. Ecological planning process and regulation, 3. landscape ecology and biotope map, 4. Watershed and eco corridor project, 5. Urban forestry and environment, and 6. artificial ground and restoration ecology. The following is the summary of the findings from Paper review: 1. Sustainable index shall be studied about more specified sites. Water recycling facilities, and reservation wet land need to be studied. 2. Policy and legislation research on Ecological design shall be researched by expanding of the application field. Nature park planning and management fields shall be considered as the main theme of green networking Parts. 3. Landscape Ecological studies should be connected to practical surveying data, e.g. the eco-maps published by Environment Ministry. Traditional culture and science should be joined with the modem science. 4. Eco-corridor planning will go with the scenarios and theories of watershed ecology. 5. Urban forestry shall be studied with the wildlife's behavior and habitat. 6. Restoration engineering techniques should be reconsidered with the wildlife's existence and environmental affiliation.

• Journal of the Korean Institute of Landscape Architecture
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• v.34 no.2 s.115
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• pp.80-98
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• 2006

This study originated from following questions. What can we understand the conception of deconstruction, which has been the core idea of new discourses developed in various ways since modernism? How can this question be interpreted in landscape design? What is the conceptional frame of integration the prominent hybrid post-genre movements and phenomena? The frame can be epitomized with the deconstruction phenomenon. 'Deconstruction' is the core conception appeared in late or post-modern ages in the embodiment of modernity and can be viewed as an integrating or a hybrid phenomenon between areas or genres in formative arts. Therefore, the author regards the hybrid movements widely witnessed in the post contemporary formative arts as one of the most important indicators of de-constructive signs. It is safe to say that the phenomenon of this integration or hybridism, of course, does not threaten the identity of landscape design but serves as an opportunity to extend the areas of landscape design. One of the consequences of this integration or hybridism is the voluntary participation of users who have been alienated in the production of the meanings of design works and hybrid landscape design with the hybridization of genres that is characterized with transformation in forms. This view is based on the distinction between hybridization of interactions between the designer (the subject) and the user (the object), and hybridization of synesthesia. Generally speaking, this is an act of destroying boundaries of the daily life and arts. At the same time, it corresponds to vanishing of modern aesthetics and emerging of post-contemporary aesthetics which is a new aesthetic category like sublimeness. This types of landscape design tries to restore humans' sensibility and perceptions restrained by rationality and recognition in previous approach and to express non-materialistic characteristics with precaution against excessive materialism in the modern era. In light of these backgrounds, the study aims to suggest the hybrid concept and to explorer a new landscape design approach with this concept, in order to change the design structure from 'completed' or 'closed' toward 'opened' and to understand the characteristics of interactions between users and designs. This new approach is expected to create an open-space integrating complexity and dynamics of users. At the same time, it emphasizes senses of user' body with synesthesia and non-determination. The focus is placed on user participation and sublimity rather than on aesthetic beauty, which kind of experience is called simulacre. By attaching importance to user participation, the work got free from the material characteristics, and acceptance from the old practice of simple perception and contemplation. The boundaries between the subject and object and the beautiful and ordinary, from the perspective of this approach, are vanished. Now everything ordinary can become an artistic work. Western dichotomy and discrimination is not effective any more. And there is 'de-construction' where there is perfect equality between ordinary daily life and beautiful arts. Thus today's landscape design pays attention to the user and uses newly perceived sensitivity by pursing obscure and unfamiliar things rather than aesthetic beauty. Space is accordingly defined to take place accidentally as happening and event, not as volume of shape. It's the true way to express spatiality of landscape design. That's an attempt to reject conventional concepts about forms and space, which served as the basis for landscape design, and to search for new things.

• The Journal of Natural Sciences
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• v.16 no.1
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• pp.55-75
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• 2005

This proposal is to present a campus landscape plan for PaiChai University. The site is located in 439-6 Doma-dong, Seo-gu, Taejon City and has an area of $208,499m^2$. The landscape plan covers the following: site inventory and analysis; integration of design program and site analysis; evaluation of design concept; schematic design including circulation form and spatial form; and design development including subarea design. In the design process, the author focused on the integration and interpretation of site conditions as related to the university buildings. He also collectively analyzed and considered the physical development of the outdoor spaces of Paichai University. The following are some of the major areas in the design of the outdoor spaces of Paichai University: 1) a main entrance space as a symbolic square, 2) Paichai central street, 3) a campus core as a greenish square, and 4) a 'Jajuro' plaza as Paichai 'Han' square. The outdoor spaces of Paichai university are created as a new type of campus realm with function, campus quality, original identity, symbolic meaning and images and beauty.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.39 no.3
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• pp.33-41
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• 2021

This study identified the scale that traditional landscape design has taken up by analyzing a total of 1037 services for design of cultural heritage that had been ordered by the government agencies from 2018 to 2020, and has drawn characteristics of traditional landscape design focusing on major cases. The results are as follows. First, the number of order cases for traditional landscape design has shown differences annually in the services of design of cultural heritage, but the design amount has been found to have the similar average annually, which confirmed that the same level has been maintained each year. It was found that the number of cases of traditional landscape design requiring responsibilities or participations of landscape engineers for 3 years in the entire design had a high proportion of approximately 26%. Second, the traditional landscape design has required professional knowledge and experiences of landscape engineers that could not be replaced by the business operator for design of cultural heritage consisting of architects. The expertise has been shown differently depending on types of construction. First, the topographical design for the work to build a foundation has required understanding of ground shapes and its elevations and professional knowledge on calculation of the amount of the earth work and the remains maintenance technique etc. The plantation design has required basic knowledge on growth characteristics of trees and the environment for growth and understanding of the vegetation landscape of the past. Meanwhile, the design for traditional pavement and traditional landscape structures and facilities has required the expertise on traditional materials that are different from the modern ones and their processing and construction methods. The understanding of changes to water paths and ecosystem, the principles of fluids, and characteristics of each type of fluid was essential for the design for the ecological landscape work including the maintenance of a water system such as rivers etc. As such, the traditional landscape design has a scale accounting for approximately one fourth of the entire cultural heritage design and requires the expertise differentiated from other fields. This improves the provisions of the current law on limiting the actual design, suggesting the need for the establishment of a traditional landscape design company so that all traditional landscape designs can be carried out by landscape engineers.

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