• Journal of the Korean Institute of Landscape Architecture
• /
• v.44 no.5
• /
• pp.47-58
• /
• 2016

In modern era Busan, newspaper articles about cherry blossom attractions from FuzanNippo and ChosenJiho have changed from places of landmark cherry trees to recreational activities under the cherry blossom. This means that the place characteristics of the cherry blossom attractions helped transform modern Busan. This study is to clarify the real image of the cherry blossom attractions where they were and when it was established in modern Busan. In order to discuss the location characteristics and the timing of identification as it changed from cherry-blossom viewing spots to picnic spots under the cherry blossom, current articles published in the FuzanNippo and ChosenJiho were collected. This study results are as follows: First of all, cherry blossom attractions are located in private gardens, gardens at hot spring inns, public lands such as schools, temples, reservoirs and malls such as Dongnae hot spring and the Midoricho red-light district. The location feature was that they were found at the edges of settlement environments, at the interface of city and natural spaces in modern Busan. Secondly, newspaper articles about cherry blossom attractions gradually changed from cherry blossom viewing spots to picnic spots under the cherry blossom, which became the peak of the cherry blossom attractions in modern Busan. The main focus of cherry blossom attractions changed from cherry-blossom viewing to picnicking under cherry blossoms around 1920. This means that the establishment of cherry blossom attractions can be seen around 1920. Articles of cherry-blossom viewing picked up sites not easy to access such as private gardens and reservoirs, articles about picnic spots under cherry blossoms noted public places that everyone could access. Cherry blossom attractions sites became spring resorts in modern Busan.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.30 no.4
• /
• pp.23-31
• /
• 2012

The purpose of this study is to analyze features and meanings on Kyonsungbu Namsan Park Design Proposal established in 1917, and to discuss the significance of the idea of Forest Park on Namsan Park. This Namsan Park Design Proposal has been the first attempt to apply modern park concept to broaden Namsan area by a professional park planner. The professional park planner to conduct Namsan Park Design Proposal is Dr. Seiroku Honda who is a pioneer of modern Japanese park planning. He clarified the concept of Namsan Park into Forest Park. With his idea we can imagine the position of Namsan at that time as a meaningful green space in Kyonsung city. In the proposal, the planning boundary of Namsan Park was considered widely as Namsan area into one big park, including the north with existing Wesungdae Park, Hanyang Park, Noinjeong and Jangchungdan, and the south with connecting park to Yongsan area beyond the walls of Hangyang castle. In a wide range of park space of the plan, parkways and park facilities were introduced. How to manage new parkways and facilities were also considered together. The significance of this plan is that it is the first trial of modern park planning with Namsan. In addition to the analysis of Kyonsungbu Namsan Park Design Proposal, the modern meaning and implications were also discussed.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.34 no.4 s.117
• /
• pp.1-17
• /
• 2006

This study emphasizes users' participation, a living-transforming visuality, as users have appeared to be a central element of landscape design but ignored before. Also this study tries to propose meaning of extended visuality in contemporary landscape design on the basis of visual criticism on simple perception-and contemplations convention-based landscape design. For these purposes, this study reviews characteristics of visual changes appeared in modern reductionist paintings. In other words, arts can be interpreted in polysemous ways through bodies' experience. Deconstructive concepts derived from the theoretical reviews can be categorized into three including the participation of the users' bodies from a contemplative point of view, textuality and intertextuality, and experiences from works. Those concepts were used to criticize the previous discourse on landscape designs and to analyze various issues in the theories, themes and techniques in contemporary landscape design. The significance of the expanded visuality in contemporary landscape design is that it brings the users' voluntary participation. This structure can serve as a tool to obtain the users' perceptive effects. At the same time, it can be regarded as a process of establishing the relationships between the users and the works. Thus emphasis is placed not only on the influences of the effects structure of the works themselves, but also on the many different dimensions related to the users' bodies. It implies that the meaning of design is not determined by the designer but a product resulted from the voluntary relationships between users and works. These findings lead to ambiguous distinctions between arts everyday life, and eventually to the end of the concepts of formative dichotomous aesthetics and their effectiveness. Finding of this study call for not only redefining the space where landscape design is created and communicated, but also reconsidering the concepts of landscape design and its ontological meanings.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.28 no.4
• /
• pp.132-137
• /
• 2000

In June, the City of Seoul held a design competition for $\ulcorner$Seoul Park$\lrcorner$in Paris to promote friendly relations with its sister city. The purpose of this paper is to articulate the design concept of a scheme submitted by the author. The author interpreted the object of this design competition as follows: if we regards a park not as one of urban planning facilities but as a space for expressing a culture, $\ulcorner$Seoul Park$\lrcorner$in Paris is a space expressing Korean culture, or a culture of the City of Seoul in Paris, France. Three points were emphasized in this scheme: 1. Physical and non-physical aspects of Korean culture, or a culture of the City of Seoul were expressed separately. In physical part, a traditional Korean garden was reappeared to express its authenticity compared to its counterpart, French classical garden - its formal and grand style. In nonphysical part, Seoul's features and its citizen's facial expression were engraved on 'free standing walls' named 'Seoul Expression'. In addition, Korean traditional and modern performing arts will be performed in a square named as 'Seoul madang' surrounded by the free standing walls. 2. A space clearly divided by the fence was necessary to distinguish a traditional Korean garden from the place which looks like an amusement park. Traditional wall, mounding and pine tree groves were included. 3. Bamboo grove with the way taking a walk was introduced. The author expected that Parisian feels oriental mystery, the sound of wind, and the time lag of past and present in this sounding bamboo grove.

• 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 Environmental Science International
• /
• v.25 no.9
• /
• pp.1213-1222
• /
• 2016

Given the growing attention to nature and health in modern society, this study considered the role of a waterscape facility as a key element in a landscape's influence on users' physiological and psychological responses. The subjects were 28 university students, and the collected data included systolic and diastolic blood pressure, salivary amylase concentration, semantic differential (SD) scales, and profile of mood states (POMS). As compared to a space without any waterscape element (Type G), relaxation in a space with a waterscape element (Type W) was found to significantly reduce of systolic and diastolic blood pressure and salivary amylase concentration. The SD scale and POMS findings showed that Type W evoked active, bright, dynamic, free, vital, interesting, and cheerful images and improved mood states by enhancing vigor while inhibiting depressive feelings. These findings indicate waterscape facilities can improves users' mood states and may enhance their health.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.22 no.3
• /
• pp.163-174
• /
• 1994

In November of 1994, The Seoul Metropolitan Government celebrates its sixth centennial anniversary of becoming the capital city of Korea. In celebration of this anniversary, the Government decided to construct a plaza and sought design proposals in March of 1994. The authors collaborated on a design for the Time Capsule Plaza Competition and won fourth place among twenty-six entries. In the authors' design, the traditional oriental concept of time resonates within the site through the shape of a clock, a unique planting style, and an "Ancestral Tomb" which has a time capsule inside. The plaza is meant to be a symbol of the passage of time, the cycles of nature, and the repetitive actions of man. As for the spatial composition of the plaza, in accordance with the traditional Korean way of spatial arrangement, the plaza is divided into three parts: entry, primary, and secondary spaces. In reality, the plaza is created with the primary goal of providing modern outdoor space for people to rest and gather through the creation of pleasant environments and the introduction of traditional Korean garden elements.

• Journal of Environmental Science International
• /
• v.24 no.9
• /
• pp.1155-1161
• /
• 2015

This paper is to study the tendency of the development of the urban comprehensive park in the modern history of China, and take the urban comprehensive park of Wuhan as an example to study the local research through the literature.. In 1928, Wuhan Urban Comprehensive Park starting stage characteristics to the ideological education of the government as the center, in 1977 the policy of reform and opening to the outside world to entertainment center, ecology design point of view, the introduction of open space and urban plaza, to human centered design, application of science and technology. 2015 in Wuhan Urban Garden Expo theme can be seen in green life as the goal, through the design of urban comprehensive park ecology and human centered design, the application of science and technology development.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.32 no.3
• /
• pp.130-138
• /
• 2014

This study aimed to grasp Feng Shui Geographical Thought appears in layout, Axial symmetry, hierarchical planning, spatial composition and hidden design techniques of Chinese Garden, that is "Xue effect", "Long-Sha effect" and "Shuikou effect", and to study on expression in Landscape Space. The Author selected the Chinese courtyard and the Nets Garden as the object to prove the Layout landscaping techniques; and selected Beijing in Ming and Qing Dynasties and the Forbidden City, A square design in Xuanwei as the object to prove the Axial Symmetrical and Hierarchical landscaping techniques, and also selected the Lingering G-arden and the Gentle Waves Pavilion, Humble Administrator's Garden in Suzhou, and Nanhu Park in Taian as the object to prove the Spatial Composition and Hidden design techniques. The methods of this article is combined Literature survey and Field survey with Case analysis to draw the conclusions as follows: First, "Xue effect" of Chinese Feng Shui Geographical Thought is suitable for the layout of Chinese courtyard and the Nets Garden in Suzhou; Second, "Long-Sha effect" is suitable for the urban planning of Beijing in Ming and Qing Dynasty, and the layout of the Forbidden City, by the city square design in Xuanwei, we can see that it is also suitable for Chinese modern landscape design; Third, "Shuikou effect" is appeared in the Spatial Composition and Hidden design techniques. All of these landscape design techniques are commonly used in China's modern landscape. It has been proved by the analysis of the Lingering Garden and the Gentle Waves Pavilion, Humble Administrator's Garden in Suzhou, and Nanhu Park in Taian.

• Journal of architectural history
• /
• v.13 no.4 s.40
• /
• pp.89-105
• /
• 2004

This paper investigates morphological theory as an intellectual framework for research and design. The first part of the paper will review morphological studies in the fields of urban geography, urban planning and architecture, particularly in England from the 1940s to the 1980s. While urban geographers and planners were concerned primarily with town plans, building forms and land use, architectural theoreticians were more interested in the topological relationship between urban and architectural space. The underlying premises and principles of these two approaches will be reviewed. The second part of the paper will focus on typology in Europe and North America. The reinterpretation of typology by Italian architects helped to bridge the gap between individual elements of architecture and the overall form of the city. However, typological theory became less accessible in post-war England and the United States. After 1980, the debate on typology became muted by the onset of vague notions such as functionalism, bio-technical determinism, and contextualism. This paper will propose a redefinition of morphology as a heuristic device, in contrast with the dichotomic view of urban morphology and architectural typology. Morphology will be shown to combine the geometrical and topological; the intentional and accidental; the real and abstract; and a priori and a posteriori. The last part of the paper discusses the lack of comparative theories and methods surrounding the physical form of architecture and the city by Korea commentators. Empirically rooted facility planning, non-comparative historical studies, and iconographic criticism emerged as a central preoccupation of architectural culture between the 1960s and 1980s, a time when international debate on architecture and urbanism was most intense. This paper will give consideration to the built environment as a dynamic physical entity and space as an epiphenomenon of daily urban life, such that collaboration between urban designers, architects, and landscape architects is seen as both beneficial and necessary.