• 한국조경학회지
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• 제24권4호
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• pp.59-73
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• 1997

Past research suggests that a landscape has a specific situational meaning that is comprized of physical, social, and functional dimensions. and that the meaning: influences person/landscape interactions. In this study. the effect of landscape meaning on three landscape assessment(scenic beauty assessment, picnic preference, living preference) was tested by manipulating landscape meaning in three ways: Korean-positive, Korean-neutral, American-positive The results showed that landscape ,meaning played an important role in determining cognitive interactions and affective experiences of landscapes. However, it should be notch that the beneficial effect of positive meaning on landscape experiences depended on people's tasks and levels of oflandscape beauty. The effect was larger for both picnic preference (than scenic beauty and living preference) and low-beauty landscape (than the high-beauty) . The results also showed that the beneficial effect of positive meaning depended on the relationship between talc nature of positive meaning and measurement context.

• 한국조경학회지
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• 제26권4호
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• pp.14-24
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• 1999

The objective of this study is to test the influence of the landscape meaning illustrated to subjects on their landscape preference and to investigate the difference of the response(Influence Value;IV) between cultural landscape and natural landscape. For this, color-slide surrogates for cultural and natural landscape are shown to Experimental Group(EG) and Control Group(CG)(between-subject design). And Experimental Group is divided into meaning illustrated Before and After Group(within-subject design). For given 45 slide scenes of cultural and natural landscape, the subjects were asked to measure their preference on ten point scale. The results are as follows; 1. The influence of value illustration is positive in the preference. Specifically, this effect was more powerful for the low beauty landscape than for the high beauty landscape. 2. The relation between the IV and the preference of non illustrated group was deeply correlated. And IV of cultural landscape was higher than that of natural landscape. 3. It is identified that the meaning illustration about high naturalness landscape such as the swamp and alpine landscape is more effective than other natural landscape. 4. Also, the preference was more influenced by the personal task associated with landscape experience. But the statistical significance between the preference and experience about landscape didn't exist. Accordingly, it was suggested by this study that the illustrated meanings of landscape and perceived landscape form were also major influential factors on the landscape preference.

• 한국조경학회지
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• 제20권4호
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• pp.12-25
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• 1993

The purpose of this study is to interpret the landscape meaning of village grove and then combines this interpretations with landscape planing if it is possible. So we chose four village groves among seven villlage interpretations with landscape planing if it is possible. So we chose four village groves among seven village groves in HAMPYUNG & YOUNGKWANG Province(CHONRANAMDO, KOREA). The reason why we did it is that the meaning of korean groves is divided into three types(Confucianism, Feng-shui, Native belief etc.) according to original planting reasons. This study was done mainly by both referring to the regional character of those types and examining the nature of grove meanings. As a result of this process, we are able to find three demensions which were explained by physical-ecological, user's behavioral and cultural meaning. 1. Physical landscape of village grove is composed with ecological meaning that is related with people's land use not only inside but outside of it. So this kind of ecological meaning is the mutual relation among physical elements of village groves, for example old high trees, surface, user's facilities, land use around a grove and soon. 2. User's behavior meaning of grove shows that it has high relation with physical dimension, for example distance and accessiblity to a grove, linkage with open space around a village and so on. User's behavior inside of grove is usually divided into three types(recreation, play, ritual services). Especially, we were able to find a tendency to have numerous people use in the case of a village grove well to preserve its ritual service. 3. Cultural meaning of grove has the holistic character which usually defines the regional theme of each village and village grove(Confucianism, Feng-shui, Native belief etc.). So, the Landscape meaning of village grove is not only a physical shape but a certain concept existing inside of village grove. This diversed meaning existing in a grove have a direct effect on good fortune or misfortune of a village and its dwellers.

• 한국조경학회지
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• 제51권1호
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• pp.29-41
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• 2023

국내 조경학 연구에서 자연성 개념은 물리적 공간에서부터 인식적 체계까지 그 범주가 방대하여 용어를 정의하기에 어려움이 있다. 본 연구는 체계적 문헌 고찰(systematic review, SR)을 통하여 문헌에서 활용된 '자연성(naturalness)'의 개념과 평가 속성을 정리하고 자연성의 의미를 구성하는 개별 속성의 범위를 파악하였다. 또한, 선행연구에서 구분한 개별 속성을 인지언어학 연구 방식의 하나인 의미 연쇄(meaning chain) 원리로 파악하여 국내 조경학 논문 중 자연성을 대상으로 한 논문들에 적용하여 다의적 체계를 정리하였다. 의미 연쇄(meaning chain)는 원형의미를 중심으로 가족 유사성에 기인하여 연쇄적으로 의미가 확장되어 가는 단어를 파악하기에 적합한 방식으로서, 자연성 평가 항목 분류에 따라 그 차원을 구분하고 국내 학계에서 논의되는 자연성 개념의 다의적 의미 연쇄 체계를 고찰하였다. 연구의 결과는 다음과 같다. 첫째, 국외 조경학 문헌을 통해 추출한 자연성의 속성은 원생상태로 인지되는 자연, 인위적 개입이 없는 상태로서의 자연, 시각적 경관으로서의 자연, 경험으로서의 자연 4개 영역으로 분류되며 세부 13개 속성으로 정리되었다. 둘째, 이러한 세부속성은 국내 조경학 연구에도 전반적으로 부합하나 그 구체적 사례가 달랐고, 시간의 축적 인지에 있어 한국적 맥락이 제시되었으며, 자연성 속성 간 상호충돌이 있을 수 있음을 시사하였다.

• 건축역사연구
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• 제26권6호
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• pp.29-40
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• 2017

Soswaewon as a typical villa garden of Korea is a symbolic garden that its diverse compositions imply a specific meaning. This study reviewed the purpose of introduction, meaning, and location of the landscape plants as one of the compositions and covering quite a large part of Soswaewon through 48 Yeong (meaning 48 poems of Soswaewon) and Soswaewondo (meaning Map of Soswaewon). In 48 Yeong, 27 verses describe landscape plants as their key poetic matters. The most frequently mentioned top 3 plants are bamboos, pine trees, and Japanese apricots. The three plants are called Sehansamwoo(歲寒三友) showing constant fidelity and loyalty in any changing situations, which was regarded to represent the nature of scholars. And also the study examined the frequency and planting location of the plants in Soswaewon by comparing 48 Yeong and Soswaewondo, and the result showed some differences between them. That seems to be caused by the limitations in the comparison, because in case of 48 Yeong, the location and frequency of landscape plants can be examined only through the context of the verses, and Soswaewondo showed different production time from 48 Yeong and expressed them only in a form of drawing. The plants have symbolic meanings multi-layered and ambiguous. With their symbolic meanings, the landscape plants reviewed through 48 Yeong consistently represent fidelity and loyalty, man of virtue, and hermit. That is, Soswaewon is the garden granting some significance to its compositions by interacting with the things.

• 한국조경학회지
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• 제17권2호
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• pp.57-68
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• 1989

This paper is studied on the korean traditional landscape in the view of the meaning of the contemporary landscape. The landscape architecture is expanding in the various research field of landscape. The seven concept of landscape can be divided as a regional concept, a land- form concept, an ecological concept, a land use concept, a heritage concept, a scenery concept, and a park and garden concept. This paper is deal with 985 kyoung(景) in 104 places and 16 Gok(曲) in 16 places as the korean traditional landscape. The object of landscape is generally focus on a reality as well as an unreality. In kyoung and Gok, the landscape is organized as an order of a small universe. The expression of the structure of korean traditional landscape is the fifth dimensional space which is organized by the third dimensional space with a time, an image and a feeling.

• 한국조경학회지
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• 제33권5호통권112호
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• pp.1-14
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• 2005

This study describes the recognition and the application of materials corresponding to the formative language of landscape design as the formative process of creating connote forms and meanings in a space. The purpose of this study is to propose the significance of materiality not only for conveying the meaning of landscape but also for providing expanded experience through synesthetic perception. The study consists of two parts: (1) The concept of materiality in landscape architecture is studied in three categories, which are divided in chronological order when the recognition of materials was changed. (2) Based on this exploration of the concept of materiality and the ways of expressing it that have developed from landscape arts to landscape architecture, the significance of materiality as the medium of contemporary landscape design is proposed. Breaking from previous technical and engineering approaches to materials and from a vision-centered recognition of materials, this study focuses on aesthetic and semantic aspects of materiality and is based on multidimensional recognition though synesthesia. Materiality has significance not only as the dynamic medium that carries the meaning of landscape by providing connections with the surrounding environmental context, but also as the engagement medium that expands observers' experiences with the environment through synesthesia. The study of materiality as the medium of landscape design would contribute to expanding the scope of the language of landscape design and to expressing the meaning of landscape through materiality being revealed on the basis of converted recognition of materials.

• 한국실내디자인학회논문집
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• 제16권2호
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• pp.105-114
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• 2007

As a result of imminent recognition on nature from modern world, the need for the combination between architecture and nature has been raised as another topic in architectural arena, and this kind of work is being conducted under the notion of Landscape. As the term 'Landscape' emerges as the key word in contemporary architecture, 'Landscape' begins to transcend the mere meaning of landscape architecture(gardening). The word, Landscape, has gone beyond the meaning of mere landscape, or rural vista one-dimensionally, and, after having introduced the attributes of nature into building activities, has emerged as a notion trying to form 'the architecture as landscape.' Together with these, 'Landscape' is expanding as a notion having various layers. The notion's, 'Landscape', occupying the significant position in contemporary architecture has been a recent phenomenon over 1980-1990s, and its category of practice has not certain limitation, rather it has started simultaneously from various areas. This study, before reviewing the architectural notion of Landscape by studying the Landscape notion and its various embodying methods being shown in contemporary architecture. As a result of examining the features of Landscape notion shown in various directions(ways), being influenced by the four Landscape types presented by Eduard Bru and the currents of the times, we can see that, though the features are somewhat similar, they are classified and explained as different types respectively. So, we are able to recategorize the features into 6 domains in this study.

• 한국조경학회지
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• 제23권4호
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• pp.97-110
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• 1996

This study is about the application of visual structure and presentation of film as one of new methods for design of sequential landscape. The primary objective of the study is to present the basis of applicable and reasonable D니. In applying components of film to DSL, if it is compared with sequential landscape, the film is collection of shots while sequential landscape is accumulation of sceneries. Film and sequential landscape give us a whole meaning different from the meaning itself of a shot or scenery in its experience. The study build a tentative technique of DSL which has the following stages : 1) Goal setting and making out a scenario 2) Analysis and investigation 3) Selection process of definite form 4) Drawing up conti., sketch and notes, It is expected that the technique presented in this study could be a basis for further study of DSL.

• 한국조경학회지
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• 제34권1호
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• pp.69-80
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• 2006

The purposes of this study are to analyze the meanings of urban spaces which are the background of the Korean films, and to capture the interactions of ordinary culture and urban spaces. By reading urban spaces through films, it is possible to understand the variety of experiences that are hardly captured with direct eyes, specific and vivid urban images, and various events formed by the interactions of spaces and people. The scope of the study is the urban spaces revealed in Korean films portraying cities after the 1960's as their settings, and the total of 18 films was selected with every $4{\sim}5$ films for each time stage. With the selected films, analytical meanings were developed with considering three aspects; 1) phylogenetic meaning that simply reflects social-cultural and historical background, 2) the outer strum meaning that concerns the situation of special background and film scene, and 3) metaphorical and metanymic meaning on films. According to the appearance frequency, spatial backgrounds of film scenes are mainly alleys, main streets, railroad, loft, and riverside. And then the connection between spaces and meaning clusters was grasped, and reflected meanings were derived for every spaces. And the meaning of urban space in films was analyzed based on the meaning of developments and outer stratum. The fundamental characteristics and feelings of people in media such as films are more emphasized than in real world. Urban space is not considered as a simple visible shell, but is recognized as 'a real situation' created by people. The intension of this study was to open the possibility of the various views of urban spaces. The construction of the urban space should be approached from a perspective of creating new places at where the space and human beings interact with considerations of stories of various human lives. I hope new vistas can be opened up for the research subjects and methodologies about the hereafter study of urban spaces through the mutual communications with various adjacent regions including films.