• Journal of the Korean Institute of Landscape Architecture
• /
• v.26 no.2
• /
• pp.181-193
• /
• 1998

Land art has always ben considered as a similar but distinctly separate field from landscape architecture. Landscape architechs look to land art for inspiration and new concepts, but has always hesitated to define their field as an "art." But as more and more design projects for social spaces are being commissioned to artists, especially land artists, the distinction between the two fields are starting to blur. "Art or Social service\ulcorner" has been a question that has been asked in the field of landscape architecture throughout the 20 th century. By reviewing the concepts behind various land art projects, this paper seeks to undermine several misconceptions that has prevented landscape architects from wholeheartedly embracing land art as a expansion of their own field. Land art, as a new form of sculpture, sought to create art forms that were not looked at but experienced from the inside. Land art challenges the principle of the picturesque and the pictorialized view of nature. Land art was influenced by a new interest in prehistoric art, and sought to reestablish communication between the artist and the public. Also, land artists acknowledge the social responsibilities of art and presents the concept of art as a community activity. As can be seen by the concepts behind the works of land artists, the dichtomy of the artistic and social aspects of landscape architecture can be reconciled, and land art can serve as a model for a expanded field of landscape architecture.dscape architecture.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.30 no.6
• /
• pp.98-108
• /
• 2003

The research purpose of this study, together with the study of Frank Stella's work and his expansion of the formative arts field, is to rediscover "Amabel" and to present a fresh perspective in evaluating and assessing environmental art objects. The results of this study can be summarized as follows. 1. The study investigated the effect how Frank Stella's work affected American modem art trends. 2. The study helped to re-evaluate Stella's work by examining its expansion into the plastic arts. 3. The study analysed the plastic works of Prank Stella and his effect on plastic arts within the modem art trend of America. In conclusion, Frank Stella played a leading role in today's American art style and had a potent influence on the trends of America's modem U. In recent years, his work has had an impacted on the design of parks and art galleries. America's industrial society is led by the growth of economic power and the development of science and technology. In America's architecture and landscape architecture, such new forms as minimalism functionalism, cubism and abstract expressionism, which have been influenced by art movements, emerged in California and the east coast. Influences of Stella such as these are the remedy for a vested stubborn concept of architecture and landscape architecture by introducing a sense of pictorial space in these fields. In landscape architecture, the introduction of art trends appears in several ways. Mainly the trend of Minimalist Art, influenced by Modernism, can be seen in much Landscape Architecture. Frank Stella contributed to the development of such minimalist art.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.32 no.6 s.107
• /
• pp.68-81
• /
• 2005

The styles of contemporary landscape design have diversified since the emergence of Postmodernism in landscape architecture. The diversification was mostly influenced by contemporary fine arts and architecture. This study examines the pluralistic development of Postmodern landscape design through the investigation of the influences from those sister arts. In this point of view, the main approaches of Postmodern landscape design are thought to be classified into three categories;'the formal abstract approach', 'the figurative approach' and 'the new picturesque approach'. The first category of the formal abstract approach was formulated with the concepts and vocabulary of Minimal Art and Installation Art. Its representative icons such as 'point grids' and 'stripes', and the main concepts such as the sense of 'flahess', 'expansion' and 'materiality' are mostly thought to be originated from these art forms. The second category of the figurative approach is characterised by the concepts and vocabulary of Pop Art and New Image Paintings. Its representative icons such as 'map' or 'figurative forms' and main concepts like the sense of 'reality', 'context' and 'symbolism' are mostly thought to be originated from these art forms. The third category of the new picturesque approach was formulated with the concepts and vocabulary of Land Art and Late Deconstructive Architecture. Its representative icons such as 'hybrid', 'layer' and 'fold', and the main concepts such as the sense of 'complexity', 'continuity' and 'reversibility' are thought to be originated from these art forms. The research shows that the main stream of contemporary landscape design seems to be gradually moving toward the second and third approach above, in step with the cultural orientation and the dynamism of contemporary urban life. Therefore, the study focused especially on the new picturesque approach which would be in greater need for coping with the hybrid culture today.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.13 no.2
• /
• pp.91-98
• /
• 1985

^x This study is an attempt to present the possibility of environmental aesthetics and its characteristic form in Korea. This paper investigated the concept of art as a traditional theory of aesthetics through R.G. Collingwood and present- day analytic philosophers who had been influenced by the ordinary language philosophers in 1950s. Accordingly, the study focused on the institutional theory of art which was developed in reaction to M. Weitz′s views. The institutional theory of art concentrates attention on the nonexhibited characteristics that works of art have An virtue of being embedded in an institutional matrix which may be called "the artworld"and argues that these characteristics are essential and defining. Taking this position, the paper examined the relation between environment and art as aesthetic object because it would be one of the ways to find tole possibility and foundation of environmental aesthetics. Furthermore, these works will be the basis to create our proper landscape or ′our own environment′as a significant and a mental cultural landscape.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.32 no.3
• /
• pp.58-68
• /
• 2014

Christian Cay Lorenz Hirschfeld is often regarded as 'a father of landscape garden art.' He was an aesthetics professor and garden theoretician in the $18^{th}$ century. He put forth the most comprehensive garden theory book in five volumes between 1779 and 1785. His book, Theorie der Gartenkunst, was translated and widely circulated in his contemporary. The book, which dealt with diverse aspects of garden art such as history, design, material, and type, urged to promote the prevalence of landscape garden in European continents as well as in Germany. However, there have scarcely been discourses in the Hirschfeld's garden theory. This essay aims to review Hirschfeld's garden thoughts in his book critically and to reinterpret some issues in the contemporary landscape theory and practice. Hirschfeldian theory was the product of $18^{th}$ century German Enlightenment and romanticism. At that time, Nature was regarded as divine realm. There was a German affinity with natural world. The spread of reading culture and the fashion of travel literature were another background of the success of his garden literature. Several issues in Hirschfeld garden theory will discussed here. First, privileging garden art was the most significant contribution in his theory. He emphasized that garden art was the most advanced art form among all art genres. Second, garden art was grounded on the mimesis of nature. The ambiguous relationship between nature and art still existed in garden making. However, garden art can be flourished when utilizing the potency of nature in itself. Third, there was the association between the image and the idea in experiencing the garden. Some garden scenes stimulated the related emotional responses such as cheerful and merry, softly melancholic, romantic, solemn etc. Fourth, the movement was the essential aspect of garden art. Motion and emotion are come together in garden experience. To represent the landscape garden style in suitable way, the sketch or image seems to be preferable than the plans and views. Finally, garden art was composing of not only the physical space but also the spirit of place. He maintained the garden art as hortus moralis should be a social metaphor. Hirschfeldian garden theory has often been criticized as the lack of practical power and the old fashioned idea. However, his theory influenced on formulating the idea of public park in $19^{th}$ century. Moreover, there are still some visionary aspects of his theory such as the reevaluation of garden art, the emphasis of locality and the introduction of Mittelweg idea. Recently, gardening culture are prevalent in various realms of art and life. Hirschfeld's garden theory as humanistic landscape theory can provide us some insights in the contemporary practices.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.23 no.1
• /
• pp.7-22
• /
• 1995

Philosophers Of aeBthetics have tended to limit their Suhject to include only objects Of art. In contrast to art objects, landscapes include elements of both art and nature, and the aesthetic experiences of landscape are ordinarty ones. Thus, the theoretical alternatives, that cannot be like the traditional aesthetic dogma of art, must be explored. Jay Appleton's theory is the firsts attempt to develop a comprehensive theory of landscape aesthetics. He concentrates on the question 'what do we like about landscape and why do we like it ' He takes the assumption that the aesthetic experience of landscape is pleasurable or satisfying, and suggests the biologically oriented theory, called 'prospect-refuge theory.'Although his theory is stimulating and highly speculative, it depends on the 'aesthetic attitude' theory of Kantian thought. His theory can be criticized for its biologically deterministic nature and its reductionism To respond to Appleton's shortcomings, that is, to resolve the conflict between biological and cultural explanations of aesthetic experience of landscape, Steven Bourassa tries to combine biological, cultural, and personal modes in a comprehensive paradigm for research in landscape aesthetics. This tripartite paradigm seems to promise to be meaningful if helping to pose important questions as well as in. avoiding conceptual errors about aesthetic domain of landscape. However, Bourassa's theory fails to integrate such three separate kinds of moder In the final analysis both Appleton and Bourassa present same succeases in expanding the scope of aesthetics to embrace landscape. Most important for a theory in landscape aesthetics must be its ability to enlarge our awareness of the aesthetic domain and its sound logic and evidence to criticize our problematic beliefs about he aesthetic idea of landscape.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.41 no.4
• /
• pp.68-76
• /
• 2013

Effortful directed attention becomes fatigued if it is demanded by environment. Kaplan and Kaplan's Attention Restoration Theory (ART) proposes that the fatigued directed attention can be restored by a restorative landscape. The four restorative components are being away, fascination, extent, and compatibility. The restorative effect of landscape has been mainly investigated in terms of nature vs. urban dichotomy, although ART acknowledges that various types of landscapes can induce restorative effect. The purpose of this study is to examine whether sense of place of landscape has an influence on the restorative effect, and how the effect relates to the visiting experience. This study was performed in An-Ap-Ji with 200 Korean visitors who participated in the questionnaire survey. Hartig et al.'s PRS (Perceived Restorativeness Scale) was used as the research instrument to measure the restorative quality. The Analysis results are summarized as: 1) PRS was a very reliable measurement for Koreans' assessment of traditional landscape. Especially, the factor analysis produced four restorative components which fully supported ART. 2) The sense of place of landscape was found to have a positive influence on the restorative effect. 3) Landscape beauty was also discovered to be influential in the restoration even though the effect of beauty was lower than that of the sense of place. 4) Among the four restorative components, three components (fascination, escape, compatibility) influenced both visiting satisfaction and revisit intention, where the order of the relevant importance was fascination, escape, and compatibility. Based on the results, it was suggested that PRS should be used in landscape restoration research in Korea in order to re-examine its' reliability. It was also proposed that more research should be directed to investigate the relationship between the sense of place and the restorative effect of landscape.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.35 no.2 s.121
• /
• pp.37-48
• /
• 2007

An exhibit entitled 'Revelatory Landscapes' was held at the San Francisco Museum of Modem Art from May 5 to October 14, 2001. For this Museum's rot off-site outdoor exhibition, five outstanding design teams-Kathryn Gustafson, Hargreaves Associates, Hood Design, Tom Leader Studio, and ADOBE LA-created site-specific installations in Berkeley, Oakland, San Jose, and the San Francisco Bay Area. Each project showcased a hybridization of environmental art and landscape design. The main content revealed through revelatory landscapes were the natural, cultural, and historical palimpsest of the sites-particularly as related to the history of minorities such as Native American, African Americans and Latin Americans-as well as the every day life of ordinary people. To represent these ideas, a juxtaposition of the past and the present was broadly applied. Furthermore, the use of dramatic colors, textures, and forms in consideration of materials coupled with the revelation of natural elements such as wind and sunlight accelerated the effect of this juxtaposition. Every project of the Revelatory Landscapes exhibit requires a phenomenological experience to be appreciated. Via the five senses, these experiences cause a synesthetic experience beyond solely the visual. By examining the projects of 'Revelatory landscapes', the threshold for a new blending between environmental art and landscape design as well as new landscape design strategies that overcome the dichotomy between nature and culture will change and evolve.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.33 no.3 s.110
• /
• pp.43-55
• /
• 2005

Since 1990s, increasing number of public arts have been installed in housing projects in Korea. Most of them were made of granite, bronze and stainless steel and were sculptures as well. Then it resulted in monotony. New technology and community need various Dials in material and genre of Public art. The author wonders if people really want granite sculpture, so started the study of public arts in housing projects. Unfortunately most of people related public art wanted granite sculpture. But there were some hope in survey. They wanted the other genre and material like ceramic wall, art fountain and landmark tower. This means that they care about real world like vandalism and Product Liability, but also want more fantastic and beautiful world in the second step. Recently, the facades of apartments are changing rapidly as more diverse materials in their forms, textures, and colors. And landscape designs are changing their clothes in every second as well. According to these flows public arts in apartments needs more diversified trial within genres and materials to avoid monotonous outdoor.

• Journal of the Korean Institute of Landscape Architecture International Edition
• /
• no.1
• /
• pp.167-175
• /
• 2001

After World War II, Japan experienced a great political and social shift, which brought a concern of emerging public landscape in urban development. This paper analyses the management of the aesthetic intentions in urban design effort. We reviewed the development of various public installation of artworks concerning urban landscape aesthetics through its administrative process in chronological order. The monuments during the first decade marked a shift in emphasis from the militarism of the pre-war and wartime period to one of peace. However, some of the monuments and sculptures are not immune to controversy. This became an issue that could no be ignored by public officials whose responsibility was to place the sculptures while maintaining sensitivity to public opinion. As public administrators began to consider the possibility that sculptures may contribute to improving public amenities, the contextual concepts were basically ignored. Some of the programs in 1970s began to show more respect to the context, while other programs in this period expressed more interest in educational aspects of sculptures in the public spaces. Urban development projects also seek to introduce artworks integrated to their urban design concepts in 1990s. Generally, the administrators responsible for these programs were rarely trained in any relative field study other than public administration. Installing sculptures tended to be considered as part of public works projects on the level of urban planning and construction. The general public is basically removed from participating in the critical decisions that actually impact their lives in relation to the artworks. In conclusion, public art in japan has unique social and historic background both in its advantages and disadvantages. Issues pertaining to art in public spaces have evolved over the decades as the term "sculpture pollution" began to appear by the mid 1990s. most of the problems originated in either the lack of monumentality, contextual consideration, quality, or public participation. From another point of view, these programs played great roll in the development of modern Japanese sculpture and patronizing process, and the creation of new urban landscape with aesthetic value. In this sense, they must be considered as successful and noteworthy examples of cultural administration and urban design policy.