• Journal of the Architectural Institute of Korea Planning & Design
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• v.34 no.5
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• pp.129-138
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• 2018

The purpose of this study is to analyze and evaluate the significance of undulated planes of architectural landscape methodology, to assess if the methodology had potential to be a sustainable architectural model, to be experimented in future. To achieve this purpose, the historical origins and changes of the landscape is discussed to analyse how it influenced modern architecture. Then the effects of panoramic sensibility derived from the picturesque garden is analysed to evaluate the influence it had on the change of the perception of space and modern architecture and landscape design strategy. Then 1980s and 1990s' symposiums and landscape theories are examined. To find pivotal moment of merging landscape and architecture, the design schemes of Bernard Tchumi and OMA for La Villette competition are selected as manifestations to show co-existence of landscape and architecture. Afterwards Yokohama ferry terminal is analyzed to present the undulated planes deployed for the union of landscape and architecture, to the affect of uninterrupted spatial connectivity. The impact of undulated plane on interior is explored in analysis of Rolex Learning Center, consequently changing the relationship within functions of the interior and the role of circulation. Finally, the spatial characteristics and significance of undulated plane is explored. The spatial characteristics are, the relationship beyond the visual connection through seamless connection; the multiple access paths and discard of transition space thereby diminishing boundaries; the environmentalization of architecture by spatializing circulation and promoting in-hierarchy. The significance of undulated planes are, the synthesis form of architectural typology; the cultivation of public sense; the closest spatial type to the space of appearance referred to by Hannah Arendt.

• Journal of The Geomorphological Association of Korea
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• v.18 no.3
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• pp.93-105
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• 2011

'This study aims to make a choice of 'the new ten beauty spots in Daegu city' based on the analysis of survey of 390 persons selected randomly. The main results are as follows. First, there is no distinctive regional character in making a choice of 'the new ten beauty spots in Daegu city'. Second, 'Gong-Ryeong-jeok-Seol(公嶺積雪) and Buk-Byeok-Hyang-Rim(北壁香林)' among 'Daegusibyeong(大丘十詠)' written by geo-jeong Seo in the Chosun(朝鮮) dynasty are included into 'The new ten beauty spots in Daegu city'. Third, The most picturesque place is Mt. Palgong in Daegu city. Fourth, most people estimate a historical nature as the most important factor in making a choice of 'The new ten beauty spots in Daegu city', but it has not been found such tendency in the selected places as 'The new ten beauty spots in Daegu city'. Fifth, both male and female have chosen Mt. Biseul, Duryu tower, Mt. Palgong and Daegu stadium as 'The new ten beauty spots in Daegu city'. Sixth, natives of Daegu as well as non-natives of Daegu tend to highly prefer Duryu tower, Mt. Biseul and Mt. Palgong.

• Journal of the Korean Institute of Landscape Architecture
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• v.37 no.6
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• pp.48-56
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• 2010

Since ancient times, Korea has been called a land of beauty. Scenic sites under the Cultural Properties Protection Act include picturesque places that are famous for their natural scenic beauty as well as their historical and cultural value. Scenic sites are managed as natural assets to promote their preservation and use. However, the management of scenic sites can produce adverse effects on regional development and ownership rights. Moreover, the purpose of their designation as cultural assets is not fully understood because scenic sites are managed by focusing on restraint on users' act the same as was applied to historic sites. Therefore, the purpose of this study is to protect inhabitants' rights of ownership by arranging the boundaries of designated areas and by providing standard permission for condition changes in the Buryeongsa Valley, which was designated as a Scenic Site in 1979. The results of this study can be summarized as follows: First, arranging the boundaries of the designated area includes the arrangement of the edge lines standardized on the visual range of the mountain ridge, preventing the loss of landscape beauty in the designated district; the internal clearing district focuses on the existing settlement. Gearing the designated areas after the arrangement of the boundaries results in $11,928,932m^2$, 38.6% compared to the existing designated areas. Second, it establishes a 500m buffer zone inside the radius of the boundary of the cultural asset as a standard for condition changes that seriously affect landscape preservation. Third, the standards for permission on building 'height regulations' are divided into flat and gable, according to the roof shape. The adopted standard is 8m high for 2 story flat roofs, and 12m high for 2 story gable roofs.

• Journal of the Korean Institute of Landscape Architecture
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• v.37 no.1
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• pp.87-99
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• 2009

This research is an introductory study that hopes to interpret the cultural scenic landscape by analyzing Korea's mountains, streams, topography, color, light, human behavior, and more based on real landscape paintings. It places its purpose on understanding our intrinsic cultural scenic landscape by investigating the changed topography and the differing life patterns caused bythe active national land development after the modern era. With Seoul, which is now difficult to find images of its past, and the surrounding areas of the Han riverbed, the interpretation related to its original topography, landscape, climate, weather, and human behaviors was observed while the main focus was placed on the climate of the perception held by people regarding Mt. Geumgang and other ranges which are not fully opened to the public yet. In order to comprehensively analyze the figures of features and appearing landscapes including color, light, and more, it was described through the concept called climate. Hereupon, the real landscape paintings by Gyunjae(Jeong-Seon), mainly bearing features of existing Korean mountains, wereutilized as visual historical material. However, not having all his works, other pieces with representative characteristics were utilized such as "Gyeong-Gyo-Myeong-Seung-Chup(a painting with picturesque sceneries around old Seoul)" and "Hae-Ak-Jeon-Shin-Chup(a landscape painting including even the spirits of the seas and mountains)" which contain the regions' distinct scenery. As a result, the old cultural scenic landscapes of Korea are regarded as containing diverse mountains and where the conceptions of the treatment of mountains were reflected.

• Journal of the Korean Institute of Landscape Architecture
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• v.35 no.6
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• pp.84-96
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• 2008

This research investigated the landscape characteristics of the skyline and the cognitive characteristics of Mt. Mudeung (1,186m) from various viewpoints. Mt. Mudeung, the representative landscape of Gwangju City, has been recognized as a natural landmark and theme of paintings. By analyzing the perspective from 32 points with a digital terrain model, some landscape indices of the skyline were derived and the relationships are discussed. Assessment of the semantic differential scale with 21 adjective variables and representativeness to 15 landscape photographs of the mountain were accomplished. 1. Through regression analysis of the skyline indices, significant relationships were found between them the angle from the visual axis and number of skyline jumps, the vertical angle fluctuation and number of jumps per degree, the visual depth fluctuation and vertical angle fluctuation of skyline, and between the vertical angle mean and number of jumps per degree. Meaningful relations were found between the number of jumps of skyline to number of jumps per degree and the angle from visual axis to visual distance. However, in the representative assessment no difference was found on the angle from visual axis of viewpoints. On the other hand, it seemed to relate representativeness with visual clarity based on visual distance. 2. We found 4 factors "familiarity", "fluctuation of skylines", "openness", and "feeling of texture" in the results of factor analysis of semantic differential assessment. When considering the results of assessment for representativeness, adjective words for familiarity and openness seemed to have a close assessment. Specifically, the research showed that the landscape representation was highly assessed in a view which could be seen from the higher parts to the lower part of hills. This result indicates that the management of viewpoints which could get a scene from intermediate to distant, and locating a high elevation is important. 3. In the picturesque expression of Mt. Mudeung, various impressions from the different points, a skyline based on the top of Mt. Mudeung and a mono structure by overlapping hills were common characteristics. These common characteristics were also partially found through the analysis of topographical landscape indices and landscape images. Therefore, the viewpoints for the representative landscape management should be selected in natural or open spaces.

• Journal of the Korean Institute of Landscape Architecture
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• v.38 no.4
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• pp.84-95
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• 2010

This study is an introductory survey of the labyrinth/maze in gardens. The term 'garden labyrinth' may seem an oxymoron given that the garden represents the terrestrial paradise, while the labyrinth is a symbol of the most chaotic face of the world. In etymological and ontological terms, however, gardens are enclosed places and this characteristic corresponds to the character of the labyrinth, which is the one of the oldest signs in human civilization, symbolizing the paths of human life filled with uncertainty and complexity. The garden labyrinth has developed in various forms and shapes since the Renaissance period. Literature and paintings contributed to the dissemination of the concepts of the garden labyrinth, especially in the form of the 'garden of love'. While the labyrinths in ancient and medieval times focused on plane shapes and symbolic and/or spiritual meanings, later garden labyrinths emphasized the three dimensional form and synesthetic pleasures. New patterns, which deviated from the classical unicursal form, emerged in the Petit Parc at Versailles in the 17th century. The garden labyrinth/maze was easy to adopt in formal gardens because of its geometric form, but for that reason, it went on to decline during the fad of picturesque garden. In this study, a brief history of labyrinths, the patterns, forms, and arrangement of the garden labyrinths in the formal gardens of the Renaissance and Baroque periods and its meanings are reviewed.

• Journal of the Korean Institute of Landscape Architecture
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• v.50 no.6
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• pp.15-29
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• 2022

The Byungsan Neo-Confucian Academy, a 17th-century World Heritage Site in Korea, is being praised as a manifestation of naturalness or non-artificiality of the traditional Korean borrowed scenery technique (借景, chagyeong). This study, however, aims to reinterpret the chagyeong of the Byungsan Academy (hereafter the Academy) as a device of illusion evoking an idealized vision of nature. In the process of interpretation, 'picture and frame'-a widely accepted expression that represents the chagyeong of the Academy-will be foregrounded as the pivotal concept mediating the change of perspectives from naturalistic to ideological. This study consists of the following three parts. First, it shows that 'picture and frame' represent a modern way of seeing the Academy as an architectural heritage in harmony with nature; it denotes pristine nature and the empty architectural frame that safely circumscribes the innate beauty of the natural landscape. Second, departing from the naturalistic perspective, this study argues that the architectural framework of the Academy composes scenography enticing the viewer to imagine the idealized, Confucian image of nature that compares to the landscape imagery found in the landscape poetry and paintings that were produced and appreciated by the 17th-century Confucian literati. Lastly, based on the above interpretation, this study stresses that the 'picture' one encountered at the Academy in the 17th century was not the framed scene of a natural landscape but the illusion it caused; the architectural 'frame' worked not as a symbol of naturalness but as an institutional apparatus of vision manipulating the way one sees-and therefore imagines-the landscape.

• 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 Korean Classical Literature and Education
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• no.33
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• pp.121-152
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• 2016

The purpose of this study is to illustrate the history of the Cheonsu-Temple天壽寺 and to describe the echo verse poem trend with regard to 'Waiting'待人 and why it is beautiful. The Cheonsu-Temple was located in the outskirts of Gaesung開城, the capital city during the Corea高麗 Dynasty. However, the temple was destroyed when the dynasty collapsed. Cheonsu-Station天壽院 was built amidst the temple ruins, as the temple was an important traffic point. The Cheonsu-Pavilion天水亭 was built in 1476 by Yi-Ye李芮 in the station's neighborhood. The station and the pavilion were completely ruined during the 17th century. Many poets visited the Cheonsu-Temple and composed poems in the latter part of the Corea Dynasty. 'Waiting'待人, written by Choi-Sarip崔斯立, -is the most famous work. Following this work, many poets composed echo verse poems 'Waiting' work that represented the anxiety of waiting for an old friend in front of the Cheonsu-Temple. The following is a highlighted verse: So many people who look like the old friend come to me, but it turned out no one was the man. This work is very picturesque. Over twenty echo verse poems 'Waiting' are categorized in three periods. They compared the "present" to the past by using the Zhenglingwei丁令威 origin from the former Joseon朝鮮 period. In the middle of Joseon period, Jungjong中宗 visited Cheonsu-Station and composed an echo verse poem 'Waiting'. The official literaries also composed poems there. In their works, they presented the collapse of the Corea Dynasty as inevitable and the construction of Joseon Dynasty as something reasonable. Cheonsu-Station was ruined in 17th century, followed after by the ruin of the Cheonsu-Pavilion. It appears that the echo verse poems to 'Waiting' in the latter Joseon period represented the ruin of the Cheonsu-Temple, the Cheonsu-Station, and the Cheonsu-Pavilion.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.2
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• pp.52-62
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• 2011

By studying the classic poetry and prose with a theme of Plantain, I would like to study why Plantain has been planted in our traditional garden for a long time. Also, through this study, I want to find when Plantain was introduced to in our country. We use description study method for studying the classic poetry and prose with a theme of Plantain. As a result, we found a few things like below. First, the introduction of Plantain to our country traces back to unified Silla in the poetry of Choe Chi Won. Also, Plantain was planted and loved generally as a general garden plant in the middle of Goryeo through poetry and paintings. Second, the meaning of Plantain is like this. 1) It means development and enjoyment of arts of summer because the leaves of Plantain were used for drinking alcohol and writing and poetry instead of papers. 2) In Buddhism, Plantain was thought to awaken 'gong(空)', 'mua(無我)', and 'brevity' of lesson of Buddha by the special shape and the image of falling rain to the leaves. Also, it was used widely in Buddhist temples because of the story of 'Hye ga dan bi(慧可斷臂)'. 3) In Confucianism, it is the emblem of lesson 'a wise man tries to be strong and tries not to stop following to God'(自强不息). 4) The large leaf of Plantain is called 'bongmi(鳳尾)' thanks to the image of likeness with tails of Bongwhang(鳳凰). Third, design use of Plantain is like this. 1) The large leaf of Plantain was used for giving an image of freshness and brightness in the garden in summer. 2) Our ancestor thought 'the sound of falling rain to Plantain'(芭蕉雨聲) as a picturesque sound in summer. Also, Plantain was highly utilized because our ancestor thought Plantain is the best plant for implementing 'soundscape'. Thus, the most characteristic use of several design uses is 'acoustic use'. 3) Plantain was also planted in a indoor pot for viewing. 4) Plantain was used for making food and medicine in the palace and private house as a practical use. The limit of this study is that I mainly use the text translated into Korean of database of overall Korean classics. We hope the new things related to this study would be added up to this study by translating original texts into Korean more.