• Korean Journal of Environment and Ecology
• /
• v.25 no.3
• /
• pp.389-403
• /
• 2011

Studies on effects of human action on the destruction of ecosystems and changes in biodiversity are being processed actively from the view point of landscape ecology. This study investigated present distribution status of the naturalization plant by disturbance of natural ecosystem which could be seen on 35 rural villages in Korea. The study made a landuse map on the study area then quantified the landscape ecologic characteristic using landscape index based on this landuse map. Correlation between landscape index on the study area and distribution characteristic of naturalization plant was analyzed. The landscape index was calculated by FRAGSTATS, a spatial analysis program, and naturalization index and urbanization index were used in the distribution characteristic of naturalization plant. As a result, naturalization index and patch density, naturalization index and edge density, naturalization index and area-weighted mean shape index were shown as having positive correlation, and naturalization and core area percentage of landscape, naturalization index and mean core area were displayed as having negative correlation.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.37 no.1
• /
• pp.110-119
• /
• 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 Landscape Architecture
• /
• v.37 no.6
• /
• pp.85-95
• /
• 2010

East-Asian intellectual societies in the pre-modem age sustained a holistic system of poem-calligraphy-painting trinity until the coming of Western modernism. Therefore, it has been insisted that the principles of traditional landscape gardening were greatly influenced by those of landscape painting and related literature. This study examined those influences closely to discover the essence of traditional Asian landscape architecture through a comparative study between Chinese landscape painting theory and landscape gardening theory within the dual categories of 'contents(value and meaning)' and 'form(view and spatial structure)'. The most important theme of landscape painting theory in contents category was 'Chi and its Vitality(氣韻生動)'. The matching theme in landscape design field was 'Feng-Shui(風水)' and 'Yi-Jin'g(意境)'. The most important theme of landscape painting theory in formal category was 'the Three Ru1es of Perspective(三遠法)'. And the matching theme of landscape design theory was 'Yindi(因地)' and 'Jie-Jing(借景)'. The most important theme of landscape painting theory in formal category was 'the Three Rules of Perspective(三遠法)'. And the matching theme of landscape design theory was 'Yindi(因地)' and 'Jie-Jing(借景)'. It was found that themes and various principles of both fields were closely inter-related and have much in common in their representation of contents and form. In the close relationship with main art genres like this, the landscape gardening could have been recognized as one of the genres of fine art.

• Journal of Korean Society of Rural Planning
• /
• v.19 no.4
• /
• pp.17-32
• /
• 2013

Reckless development policy, which has continued during the past several decades, caused landscape damage. In order to solve this problem, it is very urgent to conserve the habitat and to establish systematic database. Recently, various researches related to landscape damage have been conducted actively and the necessity of landscape ecological planning based on the biotop mapping has been issued as one of the solutions. Therefore, the purpose of this study is to select the study area, which is located in Guji-meon, Dalseong-gun, Daegu and will be formed into Daegu Science Park, and then to develop and apply the landscape ecological planning model based on biotop mapping in district unit. The results are as follows. Fist of all, according to the results of biotop classification with field survey and literature review, total 13 biotop and total 63 biotop types were classified. According to the first evaluation with B-VAT, total 19 biotop types were classified I grade including natural river with abundant plants(BA) and so on. While V grade, which has lowest value, was classified 16 biotop types including vegetable garden adjacent to river(BC). Also the second evaluation, we analyzed total 30 areas such as 1a, 1b grades, which had special meaning for the conservation of species and biotop. Next, 2a, 2b, 2c grades were analyzed total 82 areas. Secondly, in the compliance with Ecological landscape planning, we divided landscape planning model into two parts such as setting of improvement goal and detailed implement plan. For instance, setting of improvement goal, we classified 9 parts such as conservation region and parts of detailed implement plan, we classified total 28 planning indicators with 4 view such as the region which should be special protected from nature and landscape. Lastly, with the developed landscape model we applied to research areas, made maps, and differentiate proposals in each region. Specially, the final master plan was made to help understand the contents of detailed landscape planning. This study will be a useful data, which can solve the landscape damage problem systematically and control it landscape-friendly with biotop classification, evaluation, landscape ecological planning model, and application method which we developed.

• Journal of the Korea Academia-Industrial cooperation Society
• /
• v.13 no.12
• /
• pp.6135-6142
• /
• 2012

This study is conducted to understand the different characteristic of the inner and outer spacing of Sarangche Numaru according to their geographical location conditions during its construction in 15-16th century. The results showed; first, for hill-type, the side of the Numaru that is in contact with the Sarang Madang makes a short side of Sarangche Numaru regardless of the Orientation and for flatland-type, the side of the Numaru in contact with the Sarang Madang makes a long side of Sarangche Numaru. Secondly, for hill-type, Sarang Madang is not focused as the main view, instead it supports the view of the mountains that are around however, for flatland-type, Sarang Madang is focused as the main view therefore, an inner garden is formed inside Sarang Madang. Lastly, for hill-type, Cho Shan is used as an appropriative landscape while for flatland-type, Sarang Madang is used as the main view and an inner garden is formed because of the diversification of Sarang Madang's function.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.28 no.4
• /
• pp.127-143
• /
• 2010

This research was made on the interpretation of cultural landscape elements which is shown at nature management around Gyeongcheondae managed by Udam Chae Deug-gi, scholar in Joseon dynasty. Naming the nature management and natural features not only reflected on the formation toward the view of nature by the contemporary intellectuals, but influenced on the fashion of garden culture. Udam Chae Deug-gi dwelt in the riverside of Sangju, Kyungbuk as the characteristics of hermitage and managed landscape and had a willing to live a life free from worldly cares. The Gyeongchundae 28 landscapes, which was managed by himself, represent that natural features are named on the basis of neo-confucian principle and loyalty and he imposed symbolic meaning on landscape management by practically translating his aesthetic consciousness to reality; the name of detailed landscape is largely 'loyalty to Ming dynasty and to king's order and loyalty', 'Taoism' and 'Management will of landscape' by the life of metaphor and enjoyment, and symbolizes 'Searching for learning'. In addition, by selecting 10 out of 28 landscapes around Gyeongcheondae, lyrically describing the landscape by representing the change of time, season and the climate which is the scenic term of Great 8 Sosang views in fashion at that time focusing on the place he strolled or enjoyed watching himself; it can be seen that such moves are related with the landscape management in fashion in order to understand microcosmic providence with the change of natural environment. Therefore, Udam Chaedeug-gi is regarded as the neo-confucian view of nature for which any value scholars in Joseon dynasty have to own - 'loyalty' and 'integrity' - he usually emphasized himself to name the natural features and overcome the darkness of society comparing the landscape management around Gyeongchundae he lived a life free from worldly cares to the situation of Joseon dynasty when a transition times between Ming and Chung comes from China.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.29 no.4
• /
• pp.27-39
• /
• 2011

The study on Musan twelve peaks of Yongho garden in Jinju, Gyeongnam was anticipated to provide data and implication for reproducing similar spaces and modern changes in terms of design factor since it is the prototype of traditional mount for overcoming monotonous geographical features and intriguing changes and interests. The study analyzed and interpreted the symbolism of twelve peaks, principles of space composition and function and effect of visual construction that were pursued by the builder in terms of landscape view, which results are as following. The center of Yongho garden, Yonghoji(龍虎池) is a typical man-made pond for a supportive feng shui feature. It is a supporting equipment to complete the state of feng shui, and the result of strengthening the completion through the connection with the dragon-related name of the place. The shape of Musan twelve peaks looks like an oval form of Geumseongsan(金星山), 2~3.5m in height and 6~12m in diameter. Peaks are estimated as 1.5~3.7m(2.4m in average) in height, $35{\sim}138m^2$($73.4m^2$ in average) in area, and $30.7{\sim}115.0m^3$($62.5m^3$ in average) in volume. Given that Yonghojeong(龍虎亭), Soseon(小船), the site of main building and Yongsanjae(龍山齋) stand in line, Yonghoji was presumed as the state of enlightenment through ascribing the meaning to virtue and secularity. For the intention of realizing Musan twelve peaks, the builder probably had mounted twelve peaks forming the body of dragons with crossing the point corresponding to a head of tiger, and located Musan twelve peaks and Yonghojeong with a representation of dragons holding Cintamani rising into the sky in the center. The middle area near Musan twelve peaks surrounded by peaks like Geumseongsan running north and south shows a multi-structure of multilayer, maintaining the similarity centering on Yonghoji. It is considered the intention of mount planned at the time of Musan twelve peaks construction, caused by similar form harmony. Internalization of progressive realization through concealment and exposure, enframement effect and spatial order like prospect-refuge theory in the mount of Musan twelve peaks is considered the reflection of the intention to increase depth of the view and expectancy through the various degree of exposure and surroundings of each peak and the colorful combination of viewing and shutting. The "closed view" by Musan twelve peaks creates interesting, vivid and attractive recognition of the view, which is more effective in bringing depth of the view and interests in terms of the geographical design, particularly the area around Yonghoji. Moreover, it was identified that the combination of peaks can be formed resulted from the view configuration concerning the location through multilayer effect reveals an island through the other one when viewed from Yonghojeong.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.29 no.4
• /
• pp.98-110
• /
• 2011

Seochon('West Village') is located in the west side of Gyeongbokgung(Gyeongbok Royal Palace) inside the old city wall of Seoul. Seochon has beautiful scenic view surrounding Mt. Inwang and has been known as the representative historical and cultural landscape region in Korea that historical and cultural resources are rich. But when the figure of Seochon which has repeated the changes with the ones of the times is considered, values of beauty of natural landscape that Seochon had and its own placeness have not been gradually recognized as it has been swept away in logic of the development on the strength of economics. This study tries to examine the original form of landscape on Seochon which can be the standard of landscape change, the causes and process of its change and possibility to conserve and restore it to recognize potential value about historical culture of Seochon landscape and conserve and protect it. For this, this study compared and analyzed literature including poems and Yusangi, paintings and names of the scenery of the seasons as the landscape texts with the current status. The study result has found that Pilwundae should rehabilitate cultural assets to secure the prospect right and protect neighboring bedrock, Suseong-dong should expand the restoration areas focusing on the projects to make parks which are now being restored, Cheonghwigak and Cheongpunggye areas should restore waterways including historicity which is connected to figures and Seshimdae and Baekun-dong green zone should set the protective area for conservation.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.28 no.4
• /
• pp.76-84
• /
• 2010

Darangyi paddy in Namhae Gachon village provides natural beauty with its distinct location. Darangyi is a traditional Korean landscape, shaping a circular form to serve continuous cultivation. Despite the paddy's landscape, it is difficult to preserve its natural scenery due to many factors such as inadequate visual analysis. Under the belief that there is a necessity to preserve Darangyi paddy, the research in visual features of the paddy began to illustrate the relevance between its viewpoint and landscape objects. First, we researched typical view structures. When considering the visual features, Darangyi paddy landscape objects has a viewpoint from the horizontality to its below, which its center area is about $-5^{\circ}{\sim}-30^{\circ}$. From the analyzed data, the scenary of Darangyi paddy, which most people agree its decency, is formed in a visually decent location. The above type of measure of visual structure in Darangyi paddy is expected to be applied in maintenance of foothold of views in the future. Second, the surrounding elements play important parts to form the whole landscape of Gachon Darangyi paddy. Although Darangyi paddy is the principal part of the scenary, the landscape analysis showed a high relevance with the paddy's identity, forest around the paddy, sky, ocean, settlements, and the roads in terms of visual perception. It was affirmed that those elements around the paddy play important parts in structuring and providing the beauty of the whole landscape. Various viewy objects are seen obvious especially in a long distance, and the splendid scenary proved that those viewy objects are in indispensable location. In order to preserve the paddy, it seems necessary to consider the surrounding envrionment of Darangyi paddy, not just the paddy's sole landscape form. Third, Darangyi paddy has a distinct seasonal characteristics. According to the survey analysis, the full heading time in spring and time when people can take a picture against the sun light proved magnificence of Darangyi paddy. Thus, it would be ideal to maintain Darangyi paddy by securing the sunlight condition with decent landscape view and the views from its surrounding environments or researching the ways to principally maintain the surrounding environments.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.45 no.4
• /
• pp.118-130
• /
• 2017

During the landscape design process, landscape architects produce various forms of drawings to visualize the future designed landscape. This work thoroughly examines the process of the utilization of James Corner's theory and practice of representation. Since the early 1990s, Corner has explored the characteristics and functions of landscape architectural drawing theoretically. Specifically, Corner argued that the use of visual representation makes it difficult to achieve the full embodiment of all of the multisensory characteristics of a landscape. Thus, he explored new drawing techniques that alternatively visualize the landscape and generate creative ideas(i.e., imagination of drawing), rather than a realistic illustration of not-yet-actualized landscapes(i.e., instrumentality of drawing). Corner's theory has evolved throughout the mid and late-1990s as applied to landscape practice. Corner embraced ecology and implemented the theory and practice of Landscape Urbanism, thereby once again emphasizing the instrumentality of drawing. Whereas the early theory mainly explored a perspective view using collage and montage, Corner later began to stress the importance of the instrumentality again. For example, Corner employed a mapping technique based on the instrumental map and that simultaneously creatively transforms it. Corner's theory and practice of representation fully explored the identity of landscape architectural drawings and reflected the interaction between theory and practice. Thus, his design and theoretical works continue to have significant influence on present landscape practice and theory.