• Journal of the Korean Institute of Landscape Architecture
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• v.46 no.3
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• pp.70-78
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• 2018

Recently, the conservation of mountainous landscape and compensation for diverse demands for mountain areas such as leisure, recreation and welfare are under discussion. The purpose of this study is to investigation the perception of mountainous landscapes by those who view and recognize the landscapes and to estimate economic value by estimating the willingness to pay for the management of mountainous landscapes. This study will provide data for the management of mountainous landscapes. As a result of comparing the perception between the territorial landscape and the mountain landscape, the mountain scenery was 3.96, the management level satisfaction was 3.28, and the management necessity was 4.38, which was higher than the national landscape, while the national landscape was satisfactory but the management level was insufficient. Jeju Island (39.0%) and Gangwon (38.6%) were chosen as the most scenic areas with beautiful forest and mountainous landscape resources. The aesthetic characteristics of the vast skyline of mountain scenery, the background of the area, and the mountainous landscape that forms the landmark were evaluated highly. And, it is considered that consciousness of mountainous landscape management is heightened by 86.8% of respondents, who positively answered the Mountainous Landscape Visual Impact Assessment before the development project. The per capita payment amount for mountainous landscape management was calculated to be 3,742 won and, based on the number of visitors to the mountain National Parks in 2016, it is estimated to have an economic value of about 169.5 billion won. Policymakers have limitations in the mountainous landscape management policies of the administrative subject. Establishing a consensus on the importance and necessity of landscape management by diagnosing the status of public perception is expected to help create more effective policy direction and implement strategies for the management of these areas.

• The Journal of Art Theory & Practice
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• no.15
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• pp.7-30
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• 2013

This is a study on the ecological view of Robert Smithson's reclamation projects. Smithson was a pioneer of Earth art in the late 1960's. Robert Smithson believed that he could transform industrial wastelands, such as an abandoned oil rig and a no longer used quarry, into "Earth Art." In the early seventies, he conceived of land reclamation as a new art form and called this art "Reclamation Projects." His attention regarding industrial ruin started from the American political and social situations in the 1960's. In the late 1960's, American society was in chaos from the right of movement of African Americans, the women's rights movement and from the strike for renunciation of the Vietnam War. The intellectual class seemed to believe that it was the destiny of a closed system's society to run in the direction of entropy. Smithson, who was skeptical about the system of American society, also thought that entropy was the proper diagnosis to describe America's situation in the 1960's. The 1960's civic movements like the civil rights movement and antiwar movements expanded into the environmental movements based on ecological views of the 1970's. The government had also started to worry about environmental pollution. Thus, the reclamation act was also established in 1972. Smithson believed that the relation between art and social background are closely related and affect each other. He was concerned with how art can join society, and the result was reclamation projects. Such reclamation projects lie on man-made wastelands, like abandoned oil rigs and no longer used quarries, which was an allegory of entropy. He also thought that Frederick Law Olmsted was a pioneer of earth art. The aesthetic category of Olmsted's view of landscape is to be based on the picturesque of Uvedale Price and William Gilpin. So Smithson, who considered Olmsted as his touchstone, also accepted the picturesque. Such reclamation projects aim to change with nature by adapting the creative power of artists to the ruin which has the highest level of entropy in industrial society. Smithson wanted this to become the bridge between man and nature. His reclamation project's aim, which shows the system interacting between man and nature as a network, is not different from the ecological view of the 1970's environmental movement.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.4
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• pp.170-181
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• 2011

This Research will explore the meaning indicated in the landscape meaning and feature of literary group culture, focusing in Gurujeong(九老亭: pavilion for nine elders) and Samgaeseokmun(三溪石門: stone gate in three valleys) located in Dundeok-myun, Imshil-gun, and will seek to understand the implications by studying the cultural landscape spread out in the area. The place where Gurojeong and Samgaeseokmun is located is the meeting point of the three valleys, Dunnam stream, Osu stream, and Yul stream, which is the main location to view the beautiful scenery, which has the nickname as the dwelling place of a celestial being. Especially, based on the description of old maps, "Samgae(three valleys)" and "Samgaeseokmun" possesses significance as a landmark and shows a characteristic feature of landscape structures of low hills. Dangugurohwe(丹丘九老會: nine elders gathering on the dwelling of a celestial being) originated from Hyangsangurohwe(香山九老會: gathering of nine elders on a fragrant mountain), where Baekgeoi(白居易) of China was one of the main people. This group was organized by nine elders over the age of 60 desiring to view the scenery of Doyeonmyeong. The group enhanced the literary spirit on the low hill, erecting a tower, and enjoying the beautiful scenery changing every season with scholars from the same region. This phenomenon seems to have been formed upon the positive response to gatherings of elders, which were prevalent in the Joseon Dynasty. If the internal idea pursued by the group was "longevity," the external idea pursued can be summarized as "the spirit the respect for the elders." Naming the groups as 'Dangudae(place where the celestial being lives), Guseondong(valley of seeking a celestial life), Bangjangsan(mountain of a high priest), and Daecheondae(place of communicating with God) was likely a device to introspect oneself and symbolize one's life process. Furthermore, the reason Samgaeseokmun, which is an imitation of Choi, Chiwon's work, was built near Soyocheo, was probably to yearn the celestial land and based on the desire to follow Choi, Chiwon, who was the most self-fulfilling being presumed to have become a celestial being by practicing the pursuit of freedom, escaping from the reality. After tracing the symbolizing meaning of the four letters carved in the left side of the stone wall of Dangudae, the conclusion that this place was not only a place for literary gatherings of the nine elders of Saseong(four families), but was a place where the celestial being dwelled could be inferred. Corresponding with Dangudae and Gurojeong, which are places where the order of human and nature is harmonized and where its meaning associated with the location intensifies, arouses strong bond, can be said to be the symbol of the traces of celestial beings where the spirits of attachment to a certain place is embedded. The acts performed in Dangugurohwe were those of traditional leisure including strolling, viewing the scenery, drinking, composing poems, and playing instruments, and sometimes listening to stories, tea ceremony, prayers, and fishing were added, which indicates that the gathering had a strong tendency towards pastoral and hermit life.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.35 no.2
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• pp.58-68
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• 2017

The conclusion of this research after analyzing and interpreting the landscape structure and meaning of Yeongsajeongpalkyung (永思亭八景) that appears in Yeongsajeongpalyeongsi(永思亭八詠詩) of Cheonggye(靑溪) Yang, Dae-bak(梁大樸, 1544~1592) and through document studies, poetry and painting analysis and interpretation, and site investigation, is as follows. Yeongsajeong and its nearby lands are the area of "Yeongsa", where the builder, Ahn, Jeon(安?, 1518~1571) worshipped towards the grave of ancestors, and Yeongsajeongpalkyung oversees a family burial ground in Namwon, centering around Yeongsajeong such as Yocheon, Geumseokgyo and Cheonggyedong, and Sunjagang River and Mountain Jiri, which are the foot hold and key points of advantageous scenic views in Namwon. Yeongsajeongpalkyung, unlike general Jeongjapalkyung, shows a panoramic bird's-eye structure overseeing the landscape and scenery of the Yocheon area and Sunjagang River, in addition to Yeongsajeong, while show in a transition of location, a multi-view structure and time. The trace of visual unity with Sosangpalkyung of China can be seen in many places in Yeongsajeongpalkyung, which seems to be a transitional feature of composing poems regarding Palgyeong during the mid-Joseon dynasty, which pursues harmony with the local landscape of the Namwon area. The 'Changsongchwijuk(蒼松翠竹)' appearing in each of the first and second scenic views of Palgyeong and Yeongsajeongpalyeong can be understood as an incarnation of Yang, Dae-bak, the author of Palyeongsi or Ahn, Jeon, the builder of Yeongsajeong. On the other hand, as a result of interpreting the yin-yang features of poetic diction and picture elements appearing in the subtitle of Yeongsajeongpalyeong, Palyeongsi seems mostly full of yin-like elements and Palgyeongdo. Moreover, as a result of comparing and analyzing the acts expressed in and acts described in Yeongsajeongpalyeong, based on the fact that the reis almost no common ground between the two media except for Soongangmowoo, the third scenic view, the formal similarity between the two media can be acknowledged, however, it is difficult to discover any substantive 'integrity of poetry and painting'.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.2
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• pp.30-37
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• 2018

The uniformed regulations for control of the height of buildings owned by individuals to protect landscape of cultural properties are causing serious social conflicts by limiting the development of landowners. It is urgent need of introducing indicators that can resolve such conflicts and evaluate the regulations of buildings, which can satisfy urban development as well as landscape management of cultural properties. Therefore, the purpose of this study is to simulate landscape changes according to the Cultural Heritage Protection Act and National Land Planning and Utilization Act by using Unity3D in the Pungnammun Gate(Treasure No. 308) of Jeonju and its surroundings, where architectural cultural property forms the symbolic landscape of the city. Then some items such as view points, target points were introduced and the quantitative evaluation of landscapes was attempted by applying the indicator of 3D Visual Exposure. As a result, the viewing opportunity and viewing area of Pungnammun Gate were not significantly influenced by changes in landscape according to the two laws. However, the change of the height of buildings by the National Land Planning and Utilization Act, which has the greatest development capacity, confirmed the possibility of weakening the identification of the Pungnammun Gate by increasing 3D Visual Exposure of the background buildings more than two times. Finally, it was confirmed that the skyline of Pungnammun Gate was clearly infringed upon development under the National Land Planning and Utilization Act, but the skyline was maintained similar to the current situation in the regulation by the Cultural Heritage Protection Act. Thus, this study is meaningful in that the application of 3D Visual Exposure showed the possibility of utilization as an indicator for quantitatively evaluating the protection of view on cultural property and skyline according to the changes of building heights.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.37 no.4
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• pp.32-50
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• 2019

The present study examines the circumstances around the establishment of the Seonyu Eight Scenic Spots (仙遊八景) in Gogunsan Islands and the characteristics of the landscape of each viewing point. The study conclusions are as follows. First, since the scenic spots were first established in 1969, their content and sequences have been changed several times, and their names have also been changed to some extent. Until the 1970s, these scenic spots did not have official names for them and were often specified as 'Gogunsan Eight Scenic Spots', and excluded 'the Musan Twelve Peaks (巫山十二峰)'. In addition, viewing points of the eight scenic spots varied across periods. This suggests that, for the early form of Seonyu Eight Scenic Spots, the picturesque scenery of Gogunsan Islands, and Seonyudo Island in particular, was chosen, while eight scenic spots in its vicinity were regarded. Second, the Seonyu Eight Scenic Spots of the early 2000s, which has all eight scenic spots of now, follows the nomenclature of the traditional eight scenic spots by specifying the sequence number with a refined name in four syllables. Its first scenic spot was Mangju Waterfall (望主瀑布) and its eighth scenic spot was Seonyu Sunset (仙遊落照); currently, the first scenic spot is Seonyu Sunset and the second scenic spot is Mangju Waterfall. Such change in the sequence of viewing points resulted from differences in representative landscape resources between the periods. Third, the lack of structure and finesse due to continuous changes is directed related to the identity issue of the Seonyu Eight Scenic Spots. Above all, it is unclear by whom and when Seonyu Eight Scenic Spots was established, and there are clear traces of following the eight scenic spots in the neighboring areas such as Okgu (沃溝) and Impi (臨陂)'s Eight Scenic Spots. Moreover, it is evaluated to have an unrefined, incomplete structure due to the lack of clarity in the knowledge and information about viewing objects, when to view, and historical and cultural background. Fourth, the first scenic spot, Seonyu Sunset, has the image that dominates the entire Eight Scenic Spots. The temporary landscape, the sunset, became the best view because it was perceived as the entirety of the landscape created by the fusion of the beautiful natural elements of Seonyudo Island. Therefore, there is ample room for raising the value of other landscape resources of Gogunsan Islands by utilizing the existing perception of exploring the entire landscape of Seonyudo Island and Gogunsan Islands starting with Seonyu Sunset. This likely requires additional work to imbue each viewing point with identity and completion.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.1
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• pp.131-141
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• 2011

This study, as a purpose of base study for landscape redevelopement of Seowon, pointed out problems of planting patterns in each sector and suggested an alternative through analyzing old literature, complete enumeration survey in each sector and taking aerial images. the conclusions drawn from this study are as follows. A Pilam Seowon(historic site no 242) is located in a Pyungya-Sanrok(plain and mountain) district in Jangsung-gun and has Junhak-Humyo(Study room in the front and Shirne in the back) type. 23 taxonomic group of arbor, 6 taxonomic group of shrub and 5 taxonomic group of flowers are planted high-densitily in limited flat surface. It can be classified into being planted by family and being planted through landscape redevelopement in 1980s. Korean traditional trees are planted in this area like Pinus densiflora, Juniperus chinensis L., Thuja orientalis L., Zelkova serrato Makino, Sophora japonica L., Lagerstroemia indica, Prunus mume include Ginkgo biloba which is old big tree and is registered in Jangsung-gun as protected trees. The tea tree in this area was introduced from wild tea plantation in Yonhwa moutain and was planted. From now on, we have to pay consideration a form management of planted trees in the historical area, rearrangement of plant density due to over planting, removal of alien trees like Pinus bungeana and Canna generalisa, prevention a dwarfishness of main area due to over planting in outside facilities, recovery a alienation among each planting area, and planting concept from plants drawings on wall of buildings can be suggested. The implications of this case study is that introduction of over planting can make more problems like losing sense of place. Therefore, we must do a actual state survey on traditional landscape area like Seowon from preservation point of view.

• Journal of the Korean Institute of Landscape Architecture
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• v.30 no.2
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• pp.70-78
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• 2002

The landscape disign of Gamcheon wholesale fish Market was designed around a turnkey base to promote the economy of Busan Metropolitan City, to establish a fishery marketing center and to modernize existing facilities. The objectives of the project were to promote the mood of an old market, while preserving its functions and efficiency as a market, to design outdoor spaces with natural resources and amenities in balance, and to create attractive tourist spots in connection with the wide area development plan. The project was oriented, fast, to enhance the functions of the market. For this purpose, a multi-dimensional space layout was designed in consideration of functions as a wholesale market. The safety of pedestrians was secured by separating lathes for vehicles and for pedestrians. Tree planting with various functions such as sheltering, wind breaking and guiding was planned. Secondly, nature-friendly and human-friendly landscaping design was attempted. For this, the beautiful natural resources of Amnam Park were utilized, and green spaces such as green bridges linking buildings in the wholesale market, and rooftop gardens were to be arranged. In addition, environment-friendly facilities such as roads paved with natural materials(i.e. gravel, shells) and program parking lots were to be planned. Thirdly, landscape design was considered to create attractive tourist spots. For example, a fish farm was created as a theme street for pedestrians and various water-friendly spaces such as pedestrian ramps, observatories and seaside streets were to be secured. The main contents are as follows. First, a green bridge to Ahnnam Park was introduced for a tour source and flower garden, an event plan and viewing deck open to the sea were planned on the bridge's axis. Secondly, for the effective land use plan concerning open space and convenience to visitors, a promenade was planned, which is connected with the theme plaza and small plazas by environmental sculptures in front of the market hall and at the gate. As well, an observatory and a roof garden help create three dimensional multi leveled space, with a good view of the natural landscape of the sea, sky and park Thirdly, landscape materials, such as trees and those for facilities, strengthened for protection against the seawind and salt damage were selected. The commercial market area was intended to be transformed a traditional functional area of efficiency and economy into an attractive marine leisure area where both tourists and neighbors can make use of it.

• Journal of the Korean Institute of Landscape Architecture
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• v.36 no.5
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• pp.26-34
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• 2008

This study was conducted to investigate the correlation between golfer satisfaction and the diverse variables of golf course design and operation from the golfer's point of view. It was intended to reflect the various expectations and desires of golfers regarding golf course design and operation. The study was conducted on 119 golf courses in Korea, and 309 questionnaires were collected and analyzed. Results are summarized as follows. First, the most influential operational service variables on golfer satisfaction were "appearance of the golf courses", followed by "staff service", and "greens fee". Second, the most influential course design and maintenance factor variables on satisfaction were "course maintenance status", "teeing ground characteristics", and "landscape architecture". Third, based on the results shown in these two areas, a linear regression analysis was conducted to synthetically explain "operational service" variables and "course design and maintenance" variables. As a result, it was found that the explanation power of the synthetic model was 36.5%, and a model appropriateness test was found to be positive. As a result of a regression analysis of the synthetic model affecting golfer satisfaction, the most influential factors were "course maintenance status" followed by "landscape architecture", "tee characteristics", and "staff service". Regarding coefficient values, course maintenance status had an influence of 21.8% followed by landscape architecture at 20%, tee characteristics at 17.7%, and staff service at 15.5%. These results were found to be different from preceding studies that emphasized golf course operational service.

• Journal of the Korean Institute of Landscape Architecture
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• v.46 no.1
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• pp.143-155
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• 2018

The Natural Landscape Rating System was introduced in the amendment of the NATURAL ENVIRONMENT CONSERVATION ACT in 2006. For landscape preservation, the system aims to consider the effects of development projects or plans implemented in a natural landscape on skylines, scenic resources, and view corridors. Currently, a lack of consistency in standards for determining Landscape Control Points (LCP) to assess landscape impact lowers the accuracy and reliability of the assessment results. As the perception of and the impact on a landscape varies, depending on the location of the LCP, it is necessary to establish a reasonable set of criteria to select viewpoints and avoid unreliability in the assessment due to unclear criteria. The intent of this study is to propose an objective and reasonable set of criteria for LCP selection to effectively measure the impact on the landscape from development projects that anticipate a change in the landscape and, ultimately, to suggest basic analysis methods to assess the landscape impact of development projects and to monitor the landscape in the future. Among the development projects affecting natural landscapes, as reported in the statement of the environmental impact assessment, cases of construction of a single building or other small-scale development projects were studied. Four spot development projects were analyzed in depth for their landscape impacts, in order to make recommendations for the LCP selection procedure, which aims to widen the scope of selection according to the direction of viewpoints from the target site. The existing results of analysis based on LCP have limitations because they failed to cover the viewshed of the target buildings when there are topographical changes in the surroundings. As a solution to this problem, a new viewshed analysis method has been proposed, with a focus on the development site and target buildings, rather than viewpoints, as used in past analysis.