• Journal of Korea Entertainment Industry Association
• /
• v.13 no.8
• /
• pp.1-12
• /
• 2019

The purpose of this study is to explore ways to promote the stay type tourism in Ulsan. To achieve this, IPA analysis techniques were applied to survey the importance and performance of experts, tourists, and hotel users, and measures were developed for activation of common points among the groups. Most studies analyze the survey results of a group, but this study compared and analyzed the results among three groups of experts, tourists, and hotel users, resulting in areas requiring activation. According to the results of each group, 'cultural facilities' were selected as the attraction factor, and 'night tours' were chosen as the basic factor to improve. On the other hand, tourist attractions, clean environment and urban parks have been selected as implementation factors, which correspond to the "ecological tourism," one of Ulsan's five-color themes. According to the ranking, the three groups of experts, tourists, and hotel users were able to look at the results of priority items that were selected up to the third place, although there were no exact matching factors. The items selected by both groups were diversification of night viewing, traffic accessibility in tourist sites, and improvement of night scenery, operation of night experience programs, extension of night opening hours, and revitalization of night markets respectively.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.37 no.4
• /
• pp.32-50
• /
• 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 Landscape Architecture
• /
• v.37 no.2
• /
• pp.90-103
• /
• 2009

The poem 'Kyungjusipiyung(慶州十二詠)' written by Seo, Geo-jeong(徐居正) describes sentiments felt for the ruined historical and cultural landscape of Silla's capital city, Kyungju. It differs from the existing 'Eight Sceneries(八景)' as it conveys the strong metaphorical aesthetics of ruins as the episodes and figures are sung, as well as the myths and stories related to the representative holy places of the Silla culture: Gyelim(鷄林), Banwolseong(半月城), Najeong(蘿井), Oneung(五陵), Geumosan(金鰲山), the scenic beauty of deep placeness, Poseokjeong(鮑石亭), Mooncheon(蚊川), Cheomseongdae(瞻星臺), Boonhwangsa(芬皇寺), Youngmyosa(靈妙寺) and Grave of the General Kim Yu-Sin(金庾信墓). Compared with the former "Eight Sceneries" Poems, including Seo Geojeong's 'Kyungjusipiyung', there is a difference in the content of theme recitation, as well as in structure and form, especially with the deep impression of the classical features of the meanings and acts. The sequence of theme recitation seems to be composed of more than two visual corridors visited during trips that last longer than two days. The dominant emotions expresses in this poem, through written in the spring, are regret and sadness such as 'worn', 'broken and ruined', 'old and sad', without touching on the beauty of nature and the taste for life that is found in most of the Eight Sceneries Poems. Thus, the feelings of the reciter himself, Seo, Geo-jeong, about the described sceneries and their symbolism are more greatly emphasized than the beauty of form. The characteristic aspect of his experiences of ruins expressed from 'Kyungjusipiyung' is that the experiences were, first of all, qualitative of the aura conveyed; that is, the quality omnipresent throughout the culture of Silla as reflected in the twelve historical and cultural landscapes. In this poem, the cultural ruins of the invisible dimension such as the myths and legends are described by repetition, parallelism, juxtaposition, reflection and admiration from the antiphrases, as well as the civilized ruins of the visible dimension such as the various sceneries and features of Kyungju. This seems to be characteristic of the methods by which Seo, Geo-jeong appreciates 'Silla' in the poem 'Kyungjusipiyung'. Ruins as an Aesthetic Object imply the noble pride of Seo, Geo-jeong in identifying himself with the great nature of ruins. In 'Kyungjusipiyung', the images of the ruins of Silla and Kyungju are interspersed in spite of his positive recognition of 'the village of Kyungju' based on his records. However, though the concept of ruins has a pessimistic tone connoting the road of extinction and downfall, the aspect here seems to ambivalently contain the desire to recover and revive Kyungju through the Chosun Dynasty as adominant influence on the earlier Chosun's literary tide. The aesthetics of the scenery found in Seo, Geo-jeong's 'Kyungjusipiyung' contain the strongest of metaphor and symbolism by converting the experiences of the paradoxical ruins into the value of reflective experiences.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.46 no.5
• /
• pp.10-21
• /
• 2018

This study used text mining methodology to focus on the perceptions of the landscape embedded in text that users spontaneously uploaded to the "Taean Travel"blogpost. The study area is the Taean Coast National Park. Most of the places that are searched by 'Taean Travel' on the blog were located in the Taean Coast National Park. We conducted a network analysis on the top three places and extracted keywords related to the landscape. Finally, using a centrality and cohesion analysis, we derived landscape perceptions and the major characteristics of those landscapes. As a result of the study, it was possible to identify the main tourist places in Taean, the individual landscape experience, and the landscape perception in specific places. There were three different types of landscape characteristics: atmosphere-related keywords, which appeared in Kkotji Beach, symbolic image-related keywords appeared in Sinduri Coastal Sand Dune, and landscape objects-related appeared in Manlipo Beach. It can be inferred that the characteristics of these three places are perceived differently. Kkotji Beach is recognized as a place to appreciate a view the sunset and is a base for the Taean Coast National Park's trekking course. Sinduri Coastal Sand Dune is recognized as a place with unusual scenery, and is an ecologically valuable space. Finally, Manlipo Beach is adjacent to the Chunlipo Arboretum, which is often visited by tourists, and the beach itself is recognized as a place with an impressive appearance. Social media data is very useful because it can enable analysis of various types of contents that are not from an expert's point of view. In this study, we used social media data to analyze various aspects of how people perceive and enjoy landscapes by integrating various content, such as landscape objects, images, and activities. However, because social media data may be amplified or distorted by users' memories and perceptions, field surveys are needed to verify the results of this study.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.33 no.1
• /
• pp.21-30
• /
• 2015

Bulguksa Temple, a typical temple of Silla was lost during Japanese Invasion of Korea and there are records of reconstructing in its record, Bulguksa Sajeok. There is no record after that. And reconstructing was stopped due to lack of money and repair works were conducted for two times in Japanese colonial era. First repair work was from 1989 to 1919 and second repair work was conducted from 1922 to 1925. After Liberation, Bulguksa Temple Restoration Committee was established in 1969 and the construction has started since 1970 after excavation investigation to complete in 1973. The shape of south arcade without walls in the main temple of Bulguksa was found in a blue print of Bulguksa in Japanese colonial era in National Archives of Korea now and a picture of Bulguksa in 1902 taken by Sekino Tadashi. It verified the correlation between Gupumyeonji which was discovered in restoration work in 1970s and a legend of Muyoungtap. And a stair from the hall of Paradise to the main temple was introduced as a stair including Pure Land Buddhism doctrine in many literature materials, but a blue print of Bulguksa in Japanese colonial era and reports of excavation investigation in 1970s verified that it was a temporary stair built by Japan and its meaning was given later. This research checked the scenery of Bulguksa Temple before Japanese colonial era and it is intended for basic data to conduct restoration or reconstruction project in the future.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.33 no.1
• /
• pp.65-75
• /
• 2015

The findings of basic study on the awareness of falls in terms of Gwanpokdo(Paintings of Viewing Falls) were drawn as follows. First, there is a difference in an esthetic sense that water brings depending on the ratio of falls, and Gwanpokdo(Fall Landscape) in which falls take up more than 20% of the canvas focuses more on falls so that it brings about the awareness of landscape through direct communication with nature. Second, the diagonal composition of the canvas has symmetry between falls and a person viewing the falls, which makes view point even clear. In addition, margins of the canvas were missing due to the effect of True-View Landscape Painting during the late Joseon Dynasty, and overall composition of using the entire canvas became popular. This overall composition is stable and disposed with lopsided composition, so this heightens sense of balance and the meaning of falls. Third, Gwanpokdo(Paintings of Viewing Falls) of Josoen Dynasty showed various types of viewing falls in distant view, but as the distance between falls and persons got closer in the latter part of Joseon Dynasty, falls were no longer utopia but it expressed a sense of beauty and aesthetic contemplation through direct communication with real nature. Fourth, Gwanpokdo(Paintings of Viewing Falls) of Joseon Dynast had many drawings of a person viewing falls and viewing behaviors such as Supyeong gyeong(level landscape), Amgang gyeong(lower landscape), Bugam Gyeong(higher landscape), and glimpse viewing. Fifth, rocks out of landscape elements make falls vivid and are so expressed as yin and yang that falls and rocks are well contrasted with each other, maximizing beautiful scenery of falls. Sixth, woody plant of Gwanpokdo(Paintings of Viewing Falls) was mostly pine trees which symbolized the literati's fidelity and integrity at that time and emphasized the firm meaning of transcending the nature, matching with symbolization of falls.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.34 no.1
• /
• pp.71-82
• /
• 2016

Through literature review and on-site survey of Gimcheon Bangcho pavilion(芳草亭), the features of garden design(庭園意匠) including geographic conditions, landscape modeling of Nujeong(樓亭) and Jidang(池塘, Pond), and scenic interpretations in Nujeong Jeiyoung poetry(樓亭題詠詩) have been carefully researched and the findings are presented below. Bangcho pavilion is located in a village called Wonteomaeul, which belongs to the feng shui state of golden hairpin and floating lotus. It has long been the cultural hub of communication and social interactions among the villagers. The Head House of Jeongyanggong(靖襄公宗宅), the main house(本第) of the Yeonan Yi Clan(延安李氏), is about 150m away from Bangcho pavilion, an artistic space whose landscape modeling is of the form called Nujeong. The name 'Bangcho' reflects the noble man(君子)'s determination: "I yearn for the place where honey parrots fly and the fragrant grass grow." From the two story structure of the pavilion where there is an additional floor installed to the central ondol room by a four-sided subdivision door, one can detect the aspiration of the men for pursuing an open view. One can also observe the efforts in designing the room to be used for multiple purposes from a private place to an office for periodic publication of a family lineage document called "Garyejunghae(家禮增解)". Bangcho pavilion's main sight of interest is Mrs Choi's Pond(崔氏潭), the one and only garden structure that comprises the twin round island of square pond(方池雙圓島) among the existing Jidangs in Korea. In this special Jidang, there are two coexisting islands that represent a well thought out garden facility for symbolizing conjugal affection and unyielding fidelity between master and servent(主從). In addition, the three inflows and one outflow facing the Ramcheon valley is regarded as an ideal garden design optimized for performing the function of a village bangjuk which is the site for undercurrent creation and ecological reprocessing. At present, Giant pussy willow is the only circular vegetation identified in the area of Bangcho pavilion, although this plant species is about to wither away judging from the signs of decrepitude that seems to persist for two out of three weeks. The old pine tree that appears in the 1872 Jeiyoung poetry of Byeongseon Song(宋秉璿) no longer exists. Anjae(安齋) Jang Yoo(張瑠)'s "Eight Scenary on Bangcho pavilion(芳草亭八詠)" and its expansive reproduction "Ten Scenary on Bangcho pavilion(芳草亭十景)" from Gwagang(守岡) Lee Manyoung(李晩永) depict vividly the pastoric scenery of an idyll(田園景) that stretches throughout the natural and cultural landscape of the province of Gimcheon and Guseong surrounding the Bangcho pavilion. The Bangcho pavilion sutra aims to establish Bangcho pavilion and the village of Wonteomaeul as the centre of microcosmos by dividing and allocating its scenic features according to the four seasons and times(四季四時), the eight courses(八方) and the meteorological phenomena, and it is the incarnation(顯現) of landscape perception upon the Byeol-seo Scenic site of Bangcho pavilion, the cultural hub of the region.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.33 no.1
• /
• pp.97-109
• /
• 2015

This study was focused on the placeness of Nogosan Dokjae-dong and rock inscription located in Jangheung-myeon, Yangju-si, Gyeonggi-do. The purpose was to reveal the implication of Nogosan and Dokjae-dong Valley in terms of Historic cultural landscape by considering the characteristics of the place and its landscape, and inferring the significance of the letters engraved on the rock. The result is as follows.10) Samgaksan is one of the five famous mountains in Korea. It is the sacred mountain that stands behind the capital city of the Joseon Dynasty that lasted for 600 years. On the other hand, the placeness of Nogosan is significant since it was the place where people used to bow low to the three great summits of Samgaksan. Furthermore, Nogosan was the perfect place to view Samgaksan that represented the Joseon spirit. Many letters were engraved on the rocks around Dokjae-dong Valley by Misu Heo Mok(許穆) as part of his memories to describe his experience in the mountain and became a scenery. Chusa(秋史) Kim Jung-Hee(金正喜) also engraved letters of 'Mongjae' on the rock that contains a double meaning. Literally, it means 'a dreaming house' However, it also implies that even just a daydream is significant in a way. These letters are presumed to be the signs that are related to Sung-Jae(性齋) Heo Jeon(許傳)'s experience in Dokjae-dong since the letters were part of his famous book title. Below these two letters, Chusa also engraved letters that describe the sexagenary cycle including the year of the rat, horse, dog, and tiger. They are regarded as the letters that describe the fate of Chusa's friend, a scholar born in May 1804. Nogosan and Dongjae-dong Valley are very significant in terms of historic cultural landscape as a viewpoint to see Samgaksan; and a place that cherishes the traces of Misu and shows common values and cohesiveness of well-known scholars of the Joseon Dynasty including Song Wol-Jae(松月齋) and Sung-Jae as a of Gihonamin(畿湖南人). The engraved letters of Chusa and Misu also implicitly demonstrates the major trends of Korea's calligraphy history.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.32 no.2
• /
• pp.82-94
• /
• 2014

This study aims to comprehend that Gwanghalluwon for aspects of landscape change in terms of construction garden(樓園). Transformation focused on the spatial structure is divided into four periods based on literature. And reflect of landscape elements in defunct or unattributable records from tale and novel. The results were as follows. First, The beginning of Gwanghanllu pavilion(廣寒樓) was the composition of the Gwangtongnu Pavilion(廣通樓). The pavilion is located amid beautiful scenery such as the close-range view of a small stream, and distant view Jiri Mountain. Analysis of literature shows that Gwanghallu pavilion was in succession to Gwangtongnu Pavilion's landscape. Secondly, Gwanghallu(廣寒樓) pavilion represents the characteristic of the garden since 1582. Built the Samsinsan(三神山), Construct Lake and bridge that represents the galaxy for realization of utopia reflect in Taoist ideology. Thirdly, Gwanghalluwon garden was recovered when from Jeong-yu-jae-ran(丁酉再亂) to the Japanese Ruling Era. It took Gwanghalluwon garden a long while to recover from original form. According to records, Gwanghalluwon garden is still being likened to the landscape of fairyland by inheriting landscape in the previous of Jeong-yu-jae-ran(丁酉再亂). Fourth, By the modern times, Gwanghalluwon Garden has personality of tourist attractions. Until now, the area of the Gwanghalluwon garden has been expended during the processes of three times. Fifth, Aspect of landscape change of Gwanghalluwon is wide-spreading mainly Gwanghallu pavilion. But elements of external expansion in garden by introduced into the facility irrelevant to the authenticity of the garden. Sixth, Comprehension the cultural landscape of the garden are limited by deficient records. But, the main elements in the Gwanghalluwon garden are commonly appeared on imaginary environment within a tale and a novel. In addition, culture of garden at the time was depicted in tale and novel. In this sense, cultural landscape in garden was able to estimate through imaginary environment within novel.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.32 no.2
• /
• pp.12-26
• /
• 2014

This study has researched the forms of arrangement and use of the oddly shaped stones which were used at palaces during Joseon Dynasty based on arrangements of stones as shown in Donggwoldo(東闕圖), and tried to identify its special features. The sorts of stone's arrangements which set formal patterns by assisting an axis in Donggwoldo can be classified as the single type using one stone, the symmetrical type using 2 stones symmetrically and the parallel type using 3 or more stones. The single type was used to endow a focal point and to accent centrality by arranging a stone on the axis performed from formal shaped buildings. The symmetrical type was used to show order and hierarchy by placing two odd-shaped stones on either side of a building. And the parallel type which is arranged three stones side by side, is put a middle stone on the central axis line to determine strong directional and frontality. Also similarity to method of arrangement of stones can be found from planting trees in a prominent way for scenery or planting trees symmetrically. Stones and trees can be chosen according to nature and scale of places and basically their effects of formation of axis and creating typical space is same. Based on these respect, the characteristics of arrangement of stones shown in Donggwoldo can be briefly summarized as follows. First, the oddly shaped stones were used by creating a centripetal space in order to show a grade of rank. Second, the distances among stones could be adjusted to the sizes of the architecture which was at the center. The aim was to provide stability through the balanced composition between the central axis and symmetrical structures. Third, the form of regularity was added by using stone vase in consideration of irregular shape of stone causing interference in forming regular symmetry. Fourth, a centrality was emphasized by adding change to central stones in the parallel type used 3 erect stones. Fifth, the sizes of stone were limited in order to make smooth for the mix and adjustment of its position with the types of other garden ornaments, so the oddly shaped stones in palace have portability. Sixth, the oddly shaped stones in palace which were appreciated as inspirational object basically were a sculpture of the same quality with suiseki (壽石), and the appreciative method, the composition and shape had developed in the same texture. Finally, the even number of stones by parallel type were arranged by equal partition. But odd number of stones followed the method with symmetrical arrangement on its center stone. These principles of stone arrangement are judged as distinguishing methods which oddly shaped stones was made and used in Joseon palaces.