• The Journal of Art Theory & Practice
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• no.4
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• pp.57-76
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• 2006

From the late 1920s to the 1930s, Korea's fine art community focused on traditional viewpoints as their main topic. The traditional viewpoints were discussed mainly by Korean students studying in Japan, especially oil painters. Such discussions on tradition can be divided into two separate halves, namely the pre- and post-Sino-Japanese War (1937) periods. Before the war, the modernists among Korea's fine art community tried to gain a fuller understanding of contemporary Western modern art, namely, expressionism, futurism, surrealism, and so forth, on the basis of Orientalism, and borrow from these schools' in order to create their own works. Furthermore, proponents of Joseon's avant-garde fine arts and artists of the pro-fine art school triggered debate on the traditional viewpoints. After the Sino-Japanese War, these artists continued to embrace Western modern art on the basis of Orientalism. However, since Western modern fine art was regressing into Oriental fine art during this period, Korean artists did not need to research Western modern fine art, but sought to study Joseon's classics and create Joseon's own avant- garde fine art in a movement led by the Munjang group. This research reviews the traditional view espoused by the Munjang group, which represented the avant-garde fine art movement of the post-war period. Advocating Joseon's own current of avant-garde fine art through the Munjang literary magazine, Gil Jin - seop, Kim Yong-jun and others accepted the Japanese fine art community's methodology for the restoration of classicism, but refused Orientalism as an ideology, and attempted to renew their perception of Joseon tradition. The advocation of the restoration of classicism by Gil Jin-seop and Kim Yong-jun appears to be similar to that of the Yasuda Yojuro-style restoration of classicism. However, Gil Jin-seop and Kim Yong-jun did not seek their sources of classicism from the Three-Kingdoms and Unified Silla periods, which Japan had promoted as a symbol of unity among the Joseon people; instead they sought classicism from the Joseon fine art which the Japanese had criticized as a hotbed of decadence. It was the Joseon period that the Munjang group chose as classicism when Japan was upholding Fascism as a contemporary extremism, and when Hangeul (Korean writing system) was banned from schools. The group highly evaluated literature written in the style of women, especially women's writings on the royal court, as represented by Hanjungnok (A Story of Sorrowful Days). In the area of fine art, the group renewed the evaluation of not only literary paintings, but also of the authentic landscape paintings refused by, and the values of the Chusa school criticized as decadent by, the colonial bureaucratic artists, there by making great progress in promoting the traditional viewpoint. Kim Yong-jun embraced a painting philosophy based on the painting techniques of Sasaeng (sketching), because he paid keen attention to the tradition of literary paintings, authentic landscape paintings and genre paintings. The literary painting theory of the 20th century, which was highly developed, could naturally shed both the colonial historical viewpoint which regarded Joseon fine art as heteronomical, and the traditional viewpoint which regarded Joseon fine art as decadent. As such, the Munjang group was able to embrace the Joseon period as the source of classicism amid the prevalent colonial historical viewpoint, presumably as it had accumulated first-hand experience in appreciating curios of paintings and calligraphic works, instead of taking a logical approach. Kim Yong-jun, in his fine art theory, defined artistic forms as the expression of mind, and noted that such an artistic mind could be attained by the appreciation of nature and life. This is because, for the Munjang group, the experience of appreciating nature and life begins with the appreciation of curios of paintings and calligraphic works. Furthermore, for the members of the Munjang group, who were purists who valued artistic style, the concept of individuality presumably was an engine that protected them from falling into the then totalitarian world view represented by the Nishita philosophy. Such a 20th century literary painting theory espoused by the Munjang group concurred with the contemporary traditional viewpoint spearheaded by Oh Se-chang in the 1910s. This theory had a great influence on South and North Korea's fine art theories and circles through the Fine Art College of Seoul National University and Pyongyang Fine Art School in the wake of Korea's liberation. In this sense, the significance of the theory should be re-evaluated.

• Korean Journal of Heritage: History & Science
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• v.42 no.1
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• pp.100-121
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• 2009

This study is subjected to those gardens of the Korean Folk Village 'Oeam-Ri' designed in 1920s. - transitional period of traditional gardens - and define socio-cultural change's influences and through documents on garden design, descendant's testimony and measured drawings, to understand that period's garden culture's characteristics according to garden design elements. This study applied following analysis methods and procedures to derive out characteristics of transitional garden culture. Analysis on socio-cultural characteristics in 1920s. Analysis on actual condition of transitional garden's design. In this point Outline of the Garden, Space formation, Garden designing elements are (1) water landscape, (2) plant, (3) structures, (4) paving, to derive out characteristics of the transitional garden. The results follow as below; First, during the transitional period 1920s, the economical development, fueled by opening nation's door to foreign countries and indication of collapse of statue systems together with idea of practical science and Enlightenment Thought, was element of changes in garden style. Second, Garden Designers of transitional gardens in 'Oeam-Ri' were limited to upper class of the society. They were wealthy enough to maintain their high social statue in rapidly changing society. As results, tendency of returning to nature developed gardens located in a site of scenic beauty and development of geographical features arranging techniques, and also showed copying foreign styles. Third, arrangement of garden and space composition, in most cases, composed of buildings and yards. Changes in water landscape features and garden spaces are centered to main-yard. Major changes of the garden spaces are water landscapes and plants that showing foreign influences. Fifth, scenic appearance techniques appears with dense garden space and emphasizing visual scenic view. Sixth, the characteristics of transitional garden design techniques are development of geographical feature arranging techniques, changes and mixture of the materials and garden types, emphasizing garden's decorative beauty, change of concept of yard within house into garden, changes from 'borrowing of landscapes' to 'selecting landscapes', changes of front garden from emptiness to fullness, changes of attitudes of enjoying gardens from 'staying calm in the garden' to 'moving or walking in the garden', changes to inner-oriented view, and changes from 'just watching and enjoying the nature' to 'enjoying specific objects'. This study is one of the efforts to restore the identity of Korean Traditional Garden by approaching and observing modern era which function as bridge between tradition and present day, and we observed transitional aspects of changes of traditional garden into modern garden. Hereafter, more studies will be needed to Modern Garden Design be recognized as part of Korean Garden Design History and these would be author's next assignment.

• Journal of Korean Society of Forest Science
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• v.101 no.3
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• pp.387-394
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• 2012

The study was conducted to develop an effective forest resources use models for an alternate use of abandoned quarry by an attitude survey. According to the result of survey, a pessimistic view due to dust, noise pollution, and forest damage was 5% higher than an affirmative view by economic benefits from the development of quarry. The 42% of the respondents preferred the alternate use of abandoned quarry and the 25% of the respondents wanted an art and cultural space. The optimum size of alternate use was 5-10 ha (43%) with the requirement of nearby residents (32%). According to the SWOT analysis for abandoned quarry, the strength factors were an effective use of land, the content development of modern industrial inheritance + cultural and art fusion, attraction for nearby city and visitors, a harmony of beauty landscape and clean environment, and a sustainable increase of domestic and foreign visitors with the 5-day-work week. The opportunity factors were the improvement of traffic networks through KTX and local highway, the creation of the new growth engines with the establishment of artistic creation belts, the providing of unique cultural and art space through grafting of tour and education, the creation of local income through stone processed goods, and the vitalization of local development through eco-city. The weakness factors were a psychological remoteness and backwardness, and the weakness of staying tour infra. The threat factors were a poor financial support for sustainable development in nearby quarry and a modify of legal and institutional system for the alternated use of abandoned quarry. The developed restoration models for the alternate use in abandoned quarry are classified to a sculpture park, a waterfall and lake park, a rock-climbing, a sports park + forest park, a native botanical garden, a culture and art park, a complex park, a water storage site, a water storage site to extinguish forest fire, a geriatric hospital, an agricultural facility, and a school site types etc. The results suggest that the alternate use in the abandoned soil and stone quarry is needed to establish facility use models with consideration of user's preference.

• Environmental and Resource Economics Review
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• v.27 no.1
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• pp.105-138
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• 2018

This paper reports novel empirical results of a choice experiment that elicited the economic values that residents in the Seoul metropolitan area place on the amenity services realized from the landscape views and accessibilities to urban green spaces (i.e., mountains, rivers and urban parks). The 1,000 respondents in the sample were divided into two residential of housing types (apartments vs. houses) and occupancy types (owners vs. tenants). Residents living in apartments are willing to pay an average of 28% (5.0 million KRW per year) above the current housing prices per household for a mountain view, compared to an apartment view from their living room. Their willingness to pay values are about 22% (4.0 million KRW per year) and 10% (1.8 million KRW per year) respectively for a river view and a urban park view. Economic benefits of having access (i.e., a 10 minutes working distance) to mountains, rivers and urban parks are estimated to be an average of 16% (2.9 million KRW per year), 20% (3.6 million KRW per year) and 18% (3.2 million KRW per year), respectively, above the current housing prices per household. On the other hand, access benefits for those residing in houses are 18% (4.7 million KRW per year), 16% (4.1 million KRW per year) and 22% (5.6 million KRW per year) per household, respectively. They are also willing to pay an average of 35% (8.9 million KRW per year) above the current housing prices for keeping or having a garden or vegetation bed. Furthermore, a strong "greenspace premium" is centered around the three Gangnam districts for house-dwellers, whereas it is areas of "new real estate boom" for apartment dwellers.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.40 no.1
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• pp.26-42
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• 2022

The purpose of this study is to examine and understand the area and the original outer boundaries of Hamchunwon(含春苑), which was the outer royal garden of Gyeonghuigung Palace, which existed before the site of the Russian legation. The results of the study are as follows. First, examining the 3 types of drawings prepared for securing the Russian legation's site and constructing a new building, it was confirmed that two low peaks, which appear to be the original terrain of Hamchunwon, existed in the north and south directions inside the site. According to the initial plan of the of the legation's site, it appears that the entrance of the legation building is connected to the Saemunan-ro in the northwest. However, according to the report made at the time when the Russian temporary minister Veber purchased the legation's site, it was recorded that the site already had a narrow entrance and a dirt road in place, and hence, it was connected to Saemunan-ro. This fact makes it possible to learn that the line of movement for officials and the original gate were located to the northwest of the site planned as the entrance of the legation building towards Hamchunwon. Second, the site was created by cutting the top of the high hill at the time of the construction of the legation building, and as a result, a two tiered staircase typed terrace was built. The ground on which the main building and the secretary's building, etc., were erected was made by cutting the highest peak and solidifying it flat, and a large quantity of soil was used for grading. In the case of the northern area of the main building, the traces of leveling the terrain by cutting the mountains are apparent, and an observation typed garden with a walking path and pavilion was formed by utilizing the physical environment equipped with an easy view. This may be considered as a use which is consistent with the topographical conditions of creating an outer royal garden to block the civilian views on a high terrain overlooking the palace. Third, Hamchunwon's fences were partially exposed in the photos from the 1880s through the 1890s, which demonstrate the spatial changes made around the US, UK, and the Russian legations. As a result of the photo analysis performed, Hamchunwon occupies the northern area of the Russian legation's site, and it is estimated that the north, west, and east walls of the legation resembled those of Hamchunwon. The area to the south of the Russian legation was originally a place made available for civilian houses, and it was possible to examine the circumstances of purchasing dozens of civilian houses and farmlands according to various materials. Fourth, Hamchunwon, which was formed as the outer royal garden of Gyeongdeokgung Palace of Lord Gwanghaegun, lost its sense of place as an outer royal garden when the entire building of Gyeonghuigung Palace was torn down and used as a construction members during the reconstruction of Gyeongbokgung Palace, and faded away as the site was sold to Russia around 1885. The area where Hamchunwon used to be located transformed into a core space of the Russian legation where the main building and garden were located after the construction of the new building. Hence, Hamchunwon, which was limited to the northern area of the Russian legation, does not carry the temporal and spatial context with Gyeongungung Palace and Seonwonjeon which were constructed after 1897, and it is determined that the view of Seonwonjeon as Baehoorim or Baegyeongrim is not valid.

• Korean Journal of Heritage: History & Science
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• v.57 no.3
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• pp.116-137
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• 2024

This study quantitatively explored the interrelationship between water features and surrounding waterscape elements through a literature review and observational study targeting nine waterscapes of Suzhou Classical Garden in Jiangsu Province, China, which is designated as a UNESCO World Heritage Site. The purpose was to understand the objective characteristics of classical Chinese gardens and seek a basis for their differences from Korean gardens. The average area of water space in Suzhou gardens was 1,680.7㎡, which accounted for 21.3% of the total garden area, showing large variation by garden. Most of the Suzhou Gardens use springs and wells as their water sources. The Surging Waves Pavillion uses surface water, and Retreat & Reflection Garden uses seasonal water as its water source. The water pipes in Suzhou Garden are divided into a water outlet and a water outlet(water holes). Of these, the water outlet is a water outlet that imitates the water outlet just to induce a visual effect, and focuses on the meaning of the water system. It is judged to have been combined with the trend of Suzhou gardens. In addition, it was confirmed that, semantically, the arrangement of the water polo in Suzhou Garden is based on the traditional 'Gamyeo(堪輿) theory'. Meanwhile, there are five types of methods for bringing water to Suzhou Garden: Jiginbeop(直引法), Myeonggeobeop(明渠法), Invasionbeop(滲透法), Gwandobeop(管道法), and Chakjeongbeop(鑿井法). Suzhou Classical Garden mainly applies the infiltration method and the irrigation method as a method of securing water in the garden, which can be classified and defined as the water catchment method(集水法) and the water pulling method(引水法) in the domestic classification method. Among the watering techniques in Korean traditional gardens, watering methods such as 'suspension waterfall(懸瀑)', 'flying waterfall(飛瀑)' and water eluted(湧出), have not been found, and it is believed that they mainly 'rely on hide with dignity(姿逸)' and 'submerged current(潛流)' techniques. As for the watering technique, no watering technique was found that uses a Muneomi, which is applied in traditional Korean gardens. As this was applied, the seal method, penetration method, and Gwandobeop were also used in water extraction techniques. And at the inlet and outlet of Suzhou Garden, the main static water bodies were lakes, swamps, and dams. While the eastern water bodies are classified into streams, waterfalls, and springs, the water spaces in the three gardens reflect the centrifugal distributed arrangement, and the water spaces in the six places reflect the water landscape effect due to the centripetal concentrated arrangement. And as a water space landscape design technique, the techniques of 'Gyeok(隔)' and 'Pa(破)' were mainly applied at the inlet, and the techniques of 'Eom(隔)' and 'Pa(破)' were mainly applied at the outlet. For example, most bridges were built around the inlet, and sa(榭), heon(軒), gak(閣), pavilion(亭), and corridor(廊) were built, and the outlet was concealed with a stone wall. Therefore, it is understood to have embodied Suzhou Garden's idea of water(理水), which says, "Although it was created by humans, it is as if the sky is mine(雖由人作，宛自天開)."A trend was detected. Lastly, as a result of analyzing the degree of concealment and exposure in the visual composition of the inlet and outlet, it was confirmed that the water outlet was exposed only at the Eobijeong and Mountain Villa with Embracing Beauty view points of The Surging Waves Pavillion and the water outlet was hidden at other view points. Looking at these results, the 'Hyang-Hyang-Ba-Mi-Bob(向向發微法)' from the perspective of left-orientation theory of Feng Shui, which is applied in Korean traditional gardens in classical Chinese garden water management, "makes water visible as it comes in, but invisible as it goes out." It is judged that the technique was barely matched.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.2
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• pp.72-89
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• 2012

This study aimed to reconsider the theory that the renowned Amisan(峨眉山) terraced garden at north of Gyotaejeon(交泰殿) was artificially made, by reviewing the historical records and drawings. It has been widely accepted that Amisan was made of the digged soil from Gyeonghoeji(慶會池). But several arguments about artificial mountain theory of Amisan that completely not be found in historical records have been raised in this study. The results were summarized as follows; the inherent contradiction in existing opinion, the discordance between the time of building Gyeonghoeji and Gyotaejeon, the existence of the mountain range which connect Baekaksan and Amisan appeared in Dohyeong(圖形), historical documents written in the years of kingdoms of Youngjo(英祖) and Gojong(高宗), a high position seen from Heungbogjeon(興復殿) in the north Amisan through the wall in the east but impassable, an opinion about realization Amisan as geomantic term of Amisa(蛾眉砂) at the time of Gyeongbok Palace reconstruction, and preservation of the mountain range in Gyeongbok Palace that comes from the result of the arguments in main mountain of Gyeongbok Palace in the year of Sejong(世宗). In addition, it was investigated why the slop in the north of Gyotaejeon was named as Aminsan and why the artificial mountain theory is appeared and made a conclusion that the Amisan comes from the change of the pronunciation of the geomantic term "Amisa", and modeling the yijing[意景] of Amisan which is a sacred place of Taoism and Buddhism in Sichuan[四川] of Chinaand the view of construction to mean defeating a spirit of smallpox which had to be cured. And it seems to be a result which retroactively applied the artificial mountain theory of Amisanis the technique of 'constructing mountain with digged pond dirt' to the relationship between Gyeonghoeji and Amisan. The greater part of mountain range which was connecting with Baekaksan and Amisan was seriously disconnected with large scale of exposition by the Japanese colonial period in 1915. But low slope is kept about 70 meters along the trail northeast of Gyotaejeon. Accordingly, it is judged that the range has not been entirely destroyed. And according to the result of elevation analysis, discontinuous slope form certain axis is found, so the mountain range of Amisan is approximately estimated. This basic research about the mountain range of Amisan might provide a critical clue about restoration of topography in Gyeongbok Palace.

• Journal of the Korean Institute of Landscape Architecture
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• v.42 no.5
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• pp.134-147
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• 2014

Pleasure grounds, which were introduced during the Japanese colonial era, were places for organizing new amusement activities, and developed into a large-scale private spaces and a new type of public space at the same time. This study explores the scenery and accommodations of pleasure grounds and the changes of the amusement culture through the Wolmido Pleasure Grounds, which was a typical pleasure grounds of the time. At that time, Wolmido became a comprehensive amusement/entertainment place with many elements of both Western and Japanese pleasure grounds such as exotic buildings harmonized with trees, a beach, a seaside school, public playing field, and zoo constructed on the Island. Wolmido Pleasure Ground, which was connected with Kyungsung by Kyungin railroad during the Japanese colonial era, is a good example showing the process of the popularization and commercialization of the amusement culture. The process of popularization of amusement shows the spreading of the enjoyment of leisure time with amusement activities through appreciating the beautiful scenery of the pleasure grounds among various social classes. The caste system was broken and anyone could use the pleasure grounds by paying the fee, of which there were many kinds, so the distinction between genders and the different classes, such as the Chosun people and Japanese, regarding amusement in pleasure grounds disappeared gradually. Also, pleasure grounds were a place for Western hobby-sports activities and were the means to generalize collective and dynamic activities through summer school and various sport games. At the same time, there were places for deviation from the existing social norms when it was combined with entertainment facilities. The commercialization of amusement took place in the form of an artificial entertainment culture within an artificial environment. First, the scenery was artificially constructed and this scenery created the image of paradise such as 'captivating summer vacation spot' and 'water kingdom'. This was the result of the combined intentions of the colonial authority, the railroad company and the amusement corporation to produce economic profits and encourage development in the area. Second, an artificial spectacle was constructed using nature as the backdrop. Buildings of various styles created a modernized and exotic image when they were combined with each other. Artifacts such as breakwaters and arcades created new attractions for people that enabled them to view both nature and the crowds from a whole different perspective. Third, pleasure grounds contributed to the advent of passive users who would just follow the given use and instructions. In this way, one can find the prototype of popular entertainment places of today such as sightseeing complexes, amusement parks, and theme parks through the construction of amusement grounds as a place for providing dynamic activities.

• Journal of the Korean Institute of Landscape Architecture
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• v.43 no.6
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• pp.41-51
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• 2015

The purpose of the Follies that were constructed for the Gwangju-Biennale were for urban regeneration, to activate the empty old-town areas, and to strengthen the tradition and sense of place of the city. However, the ten Follies constructed around the wall of the old castle reveal many problems including that of leaving Follies alone instead of actively using them, damage to shop-keepers nearby, and pedestrian inconvenience, which is different from the original purposes. This study is meant to help understand the source of the negative phenomena, and to offer plans that will be conductive to the role of urban regeneration through activating the Follies and the spaces around them. As results of the investigation, there was no context giving uniformity among the various Follies. Also, the study showed that the insufficience of designers' understanding of the circumference near the Follies and lack of a consensus between the citizens and designers in the process of making the Follies. The crucial solution for solving these problems, and bringing to life the original purpose of creating the Follies was derived as applying "human activity" to the Follies. This study suggested 'street performance' as an effective device for application to human activity. While a Folly has no fixed function, the development of space program categories based on the applied characteristics of each Folly, and the simulation thereof showed effective potential for attracting people and activating those stagnated spaces. Recently, Gwangju city depicted the second Follies in applications such as reading roon, toilet, and movable food cart, which have clear purpose and different characteristics from the first ones. However, the first Follies will not be moved or demolished. As they are located around the National Asia Culture Center, some of them are supposed to be used to view the center. Consequently, a counterplan for the continuous and efficient use of those Follies is needed. Gwangju has a plan for the installation of 100 Follies throughout the city and it is expected that this study will be a meaningful guide line for improved Follies in the future.

• Journal of the Korean Institute of Landscape Architecture
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• v.41 no.4
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• pp.24-41
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• 2013

This study aims to investigate the complex planning processes and design ideas of the Gwanghwamun Plaza which was opened in 2009. The opening of the plaza was significant as it was built in order to restore the symbolic meaning of axis in the historical Joseon Dynasty that was distorted during the Japanese Imperialism. The plaza itself attracts many citizens and tourists by providing the empty ground carrying historical ambiences around. In this paper, the story of the Gwanghwamun plaza will be summarized. Particularly, the background of promoting the project will be discussed and the whole planning process will be dealt with. The plaza was realized through several stages. First, the planning stage will be reviewed. The planning stage had been a quite long process since the initial idea was discussed. Since the early 90s, the political decision of making the plaza was made through the change of people's understanding toward public space. At this stage, the city government worked together with diverse citizens and professionals to share the vision and to realize the right decision in making the plaza. Second, the design stage will be elaborated in detail. This is the second design stage. The former was the idea competition and the latter was the turn-key base. The final design scheme emphasized the restoration of symbolic axis and the forgotten Yukjo Street. The scheme consists of four zones such as history restoration zone, prospect and history representation zone, culture zone, and the urban zone. Through the whole design process, the original idea remained as it was. The design concept was "a place of memory and prospect." It emphasizes the history representation, view corridor, cultural activities platform as well as the emptiness and flexibility of the basic premise of the plaza. Finally, the construction stage will be discussed. There were some additions and omissions in the construction process. The design chances in the construction stage will be reviewed in detail. After the opening of the plaza, there were some changes in the detail design. We will discuss how and why these modifications were made. In the end, the social and cultural implication of the plaza will be discussed. The storytelling of the Gwanghwamun Plaza will contribute to the clear understanding of planning and design process of pubic places. Based on this reflection, we are able to think about some suggestions of public projects for the future.