• Journal of Korean Society of Rural Planning
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• v.5 no.2 s.10
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• pp.46-55
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• 1999

This paper examines the pastoral ideal and its legacy to landscape design. We have had the routine convention of experiencing natural beauty from the picture-like nature. We, who would liken a scenic view to a picture, often equate natural beauty with superficial representations of nature shown in pastoral literature and traditional landscape paintings: the lush of towering trees, the field of endless green, the soft babbling flow of the river and the crisp clear sky. It is not a portrayal of nature as it is, but in fact a conceptual expression of its ideal form. The ideological root of that natural beauty can be retraced to the pastoral ideal, so eagerly longed for by people of the western world. A pastoral landscape graciously marked with leisurely peace and subtle harmony is what we identify as beautiful nature. In fact, however, it is no more than an artificial refuge in contextual isolation from its surrounding, and a by-stander's nature seen purely through the eyes of the outsider. The tradition of pastoralism, reaching its peak in the 18th century with its English Landscape Garden style, was transplanted into the real world through the practice of landscape architecture. Landscape design in such a form is just a static means of decoration devoid of meaning and process. And we simply identify the green ornamentation with nature.

• Proceedings of the Korean Institute of Landscape Architecture Conference
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• 2007.10b
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• pp.171-179
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• 2007

Ecotourism has a concept of conservation as a basis, for economic and social values are derived from the sustainable use of natural resources. This study aims to introduce natural landscape of the Cairngorms National Park in Scotland and to describe its conservation and tourism in the Park, in order to provide the implication of landscape conservation of National Parks in Korea. Although the National Parks of Scotland were officially established long after those of England and Wales, their important features had already been internationally recognised and designated as Sites of Special Scientific Interest(SSSI), National Nature Reserve(NNR), or National Scenic Area(NSA). These focus on landscape conservation and are managed by Scottish Natural Heritage(SNH). The Cairngorms National Park focuses on landscape conservation and recreation, and has been the subject of a number of initiatives attempting to assess landscape resource potential and its current and future management. This implies that a carefully preserved landscape has the effect of a tourism resource in which tourists look for novelty embedded in the typicality of the landscape of the National Park. The typical landscape which is conserved in the Cairngorms National Park is understood as both an objective representative and a subjective ideal involving the meaning of the landscape. This is implicit in the tourist booklet that promotes the sightseeing activities of tourists. It is thus important that National Parks should be focused both on managing landscape as well as promoting tourism.

• (The)Study of the Eastern Classic
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• no.68
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• pp.145-171
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• 2017

This study aims to clarify the meaning of the Anapji which was one of the scenic places of historical interest during Silla Dynasty and of the Anapbupyeong(雁鴨浮萍) which was one of the greatest seven miracles (Dong-do-chil-gue(東都七怪) through appearance of the Anapji in poems. Anapji lies its original meanings on Anhaji(安夏池) and then it was shortened to Anji(雁池), apji(鴨池) while Dongho(東湖) has also been called since it is located in the South of Gyeongju. As of July 2011, the Ministry of Culture officially renamed Anapji and Imhaejeon Hall Site(臨海殿址) as the palace of Crown Prince-Gyonegju Donggung(慶州 東宮) and Wolji(月池) (Historical Site No. 18) and Wolji became the current name. While pond was made during Munmu of Silla, the name Anapji did not exist. Kim Si-Seup (1465~1471) in the early Chosun period referred to the pond as Anhaji(安夏池) and its name started being called as Anapji in the Geography of Korea (Sinjeung dongguk yeoji seungnam,(新增東國輿地勝覽)(Jungjong 25, 1530). Though modern scholar states that it was being called Anapji since there are always many ducks and wild geese in the pond, they fails to present the literature evidences. The author found the line in the poem -Anapji composed by writer Kim Chul Woo, which means that a wild duck and water bird get in and off the pond on their own and the record saying which means Dong-ho(東湖) from the phrase of Dongho-saw-sar-gi(東湖書社記) of Lee Su In(李樹仁)(1739-1822)-Confucian Scholar of Gyeongju was created due to the fact that many wild geese and ducks are flying over. Based on the facts foresaid, the literature evidences for the name of Anapji are presented in the paper. Anapji is a combined word between the Anapbupyeong(雁鴨浮萍) which is a flooding weed and Dong-do-chil-gue(東都七怪). Dong-do-chil-gue is an ancient form of Modern Eight Scenic Views. Eight Scenic Views -Gyeongju Parlgyong is just well-known as scenic places without grotesque elements Dong-do-chil-gue had before. However, the author also found the passage of Ilseongnok: Records of Daily Reflections saying that Anapji has a clod that is as wide as rock(盤石) and the clod also has moneywort on, which are undulating in the wind and clarified how the Anapbupyeong became one of the one of the greatest-seven miracles Dong-do-chil-gue and why the Anapbupyeong frequently appears in the poems of many writers.

• Journal of the Korean Institute of Landscape Architecture
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• v.41 no.5
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• pp.28-37
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• 2013

This research, which sought to conjecture the formation process of tribal landscape while confirming the method and characteristic of place attachment of the Haeju Oh Family, which is rooted within the village and the Yongwon Pavilion and Garden of Gohak-ri, Mari-myeon, Geochang-gun, Gyeongnam, reached the following conclusion based on the interpretation and analysis of cultural and scenic elements such as the names and sculptures nearby the village and Yongwon Pavilion and Garden. This place is where Goohwagong Oh Sue, a Haeju person, settled down. This is also where his descendants were refined while yearning for their ancestors. The Yongwon Pavilion was established in 1964. It can be sufficiently known that this place was managed and maintained as a garden-like place where the spirit of yearning was shared and which was the basis of the life and entertainment of descendants after being the monumental place for Master Oh Guhwa, through stories, documents, nearby facilities, and writings on many rocks. It is clear that the meaning of 'Bang-Hak(訪鶴) and Jung-Hak (停鶴)' which is carved in many places around this area and Gohak-ri, which symbolizes the Hakbong(crane peak), the vein of Wonjak-dong which is one of the Ahneuisamdong(three outstanding scenic places of Ahneui), is a scenic language explaining the ecological settlement and lives of the Haeju Oh Family. When considering the definition of a sense of place as "a 'social device' made by discussions and practice rather than its existing as a substance," the many structures scattered around the village, Yongwon Pavilion Garden, and nearby designations show the monumental place inheritance of tribal group clearly exhibiting the characteristics of a Korean sense of place. Ever since Guhwagon Oh Sue settled down in Guhak-ri, the tribal group of Haeju Oh Family went through a life settlement phase and landscape formation phase by realizing the sense of place. Afterwards, while yearning for ancestors and repeatedly rooting down in the place, territoriality expanded and the place was reproduced. In particular, timber houses and monuments were constructed during the Japanese Colonization Period, and after independence, the Yongwon Pavilion was constructed through place reproduction, and monumental tribal landscape is currently being expressed in various forms to this day. Thus, allowing to reach the conclusion of 'Tribal Landscape of Gohak-ri, Mari-myeong, Geochang-gun,' which we perceive today. The products of territorial expansion formed by the repeating phenomenon of place rootedness and place attachment by tribal groups are in fact the substance of tribal landscape. Through such, it is possible to confirm the true spirit of place attachment and the earnest interest and affection of descendants towards a unique place that is repeatedly constructed and inherited within the group memory.

• Journal of the Korean association of regional geographers
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• v.22 no.1
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• pp.151-167
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• 2016

Conventional social science typically regards the idea of a 'mountain' as part of 'nature' and a physical environment existing separately from, or prior to, human society and culture. However, in Korea, which is 70% mountainous land, the 'mountain' is part of a unique 'social nature'. This research develops the idea that in this context the mountain is a social nature and a cultural landscape which are tied heavily to the idea of travel. The article interrogates why the scenic beauties of Mt. Kumgang have been perceived and conveyed through multiple generations since the Chosun Dynasty period. Focusing on Mt. Kumgang, this article illustrates how strongly people have held dreams of mountain travel, for the whole life-time. Travel writings(or accounts of trips to the mountain) and artwork have played a particularly important role in creating Mt. Kumgang's reputation as the most beautiful mountain in the country. At the same time, the access to the mountain was often a dangerous adventure, with many travelers facing hunger and extreme physical challenges. As portrayed in writings and artwork, the overall effect of these dynamics was the creation of a socionatural place of striking beauty that even seemed to have mystical or magical fantasy. According to Confucian ideals, full appreciation of nature and its beauty was key to understanding the logics of the universe and to achieving a high moral standard, which contributed to decide to leave for the mountain as well. The essays, poems, and paintings of Mt. Kumgang since the Chosun Dynasty period that portrayed the mountain's beauty collectively served to produce the mountain as a socionatural landscape engendered with potent place-myths, important historical meaning, and strong aesthetic associations. Thus, the travel to the mountain seemed never completed over until travelers had completed various artistic representations to record and to memorize what they'd done and seen in Mt. Kumgang, which had been performed for the strong purpose of social sharing of the real the mountain's beauties and itinerary.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.1
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• pp.20-33
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• 2018

This study aims to illuminated landscape of Joseon Dynasty in the end of 19th century when Joseon dynasty began to modernize through the perspective of Westerners. Historical meaning to Western people's landscape records has been preceded. And landscape typology and their perception were analyzed. The results were as follows. First, the Westerners who visited Joseon dynasty at that time were involved in the historical and political situation of the Joseon Dynasty or understood their culture through traveling for so long. And record of Westerners is a significant data to analyze scenery at that time because common contents appear in various books. Second, the landscape of Joseon dynasty that appears in Western records was mainly recorded in small towns and villages, natural environments, scenic sites, historic sites, modern facilities, and cultivated areas. Small towns and villages are mainly mentioned with shabby alleys and dense houses. And natural landscape were identified to mountain landscapes and diverse geomorphological landscape that surrounding vegetation along the coast and rivers. The palaces, fortress and temples were recorded as main objects of scenic sites and historic site. And western-style buildings such as foreign legations and settlements, churches and schools were mentioned in the modernized facilities. A cultivated land was confirmed to be underdeveloped and neglected, but as range of view became wider, it was seen to a peaceful and prosperous rural landscape. Third, Westerners' landscape perception of Joseon dynasty at that time can be deduced from positive or negative perceptions. The residential environment was perceived as negative because it was unsanitary and backward. On the contrary, outstanding natural landscapes, scenic sites and historic sites, and upper class gardens were perceived as positive. For modernized landscapes, positive and negative perceptions were similarly mentioned. Positive perceptions were formed in improvement of civilized landscape, and appeared negative perception because damaged traditional landscapes and heterogeneity.

• Journal of the Korean Institute of Landscape Architecture
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• v.34 no.6 s.119
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• pp.54-65
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• 2007

There is little research on the exterior spaces or gardens of single detached urban dwellings in Korea because apartments are the general housing type of most inhabitants. However there is an increasing demand for idyllic houses in the urban fringe and for environmentally friendly dwellings or healthy houses that is represented in urban residents gardening activities. The purpose of this research is to analyze residents' preferences and problems in gardening and management of single detached urban dwellings, and to evaluate the possibility of gardens as biotopes. It also addresses the issue of providing public amenities in the urban landscape. One hundred thirty-six dwellings were selected in residential areas of the city of Gwangju. The layout and plant composition, residents' evaluation and understanding of their own gardens, and maintenance and management were investigated. The results indicated that residents associate gardening with mental health and recognized a lack of space as one environmental restriction. Watering was seen as a primary difficulty for maintaining gardens. This research suggests that providing space for gardening could be a tool for participatory community making. When considering the important aspects of gardening, residents responded that gardens offer naturalness, scenic beauty, and practicality and also felt that gardens provide a buffer from environmental pollution and relief from mental duress. Results from the factor analysis using 15 semantic differential variables showed that 'spatial openness', 'natural variety' and 'familiarity' were representative factors. Although a garden is mainly considered as a space for the appreciation of nature with plant material, our results suggest that meaning and environmental symbolism are important elements.

• Journal of the Korean Institute of Landscape Architecture
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• v.21 no.3
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• pp.11-19
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• 1993

This study was intended to clarify the landscape characteristics of the Sosewon Gaden through interpreting the Kim, In Hu's 48 poems(in Chinese characters) which clearly represented the landscape image of th user about this garden by selecting the cultural position of how then the users of the garden interpreted and manipulated its landscape rather than the scientific position. The following were the results from the analysis and review of the review of the woodcut and the 48 poems through names and scenic element. 1. When analyzing the names, those names due to the human experience were the most. This revealed that sensitive perception and experience was emphasized in the garden life. 2. It was important that can be experienced as nature and human beings come in contact each other at stream. 3. The landscape of the Sosewon Garden empasized not only the elements of the form and their combination but also on the unusual experience of human behavior and climatic element. The elements of the form which was recognized as the subject of poet was regarded as the cultural one of this garden and had an ideological background to convey the meaning of the landscape. 4. The Sosewon Garden was divided into four characteristic spaces as it is considered in terms of the sense of place represented in the 48 poems; the approach space, the space for poetic recital, the ideal space, and the space of pleasure.

• Journal of the Korean Institute of Landscape Architecture International Edition
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• no.2
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• pp.102-108
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• 2004

In the city of Asia like Seoul and Tokyo, aggregate power is poured into the city making which is suitable in new age. Large-scale re-development is active in various places as the present condition, As for the various East Asian cities, high-level utilization conversion of the land and high conversion of the building are advanced. As for these realities, the re-development is advanced in the situation that has not been clarified enough though it is true that green of the city has decreased. This research was aimed at the clarifying the allocation of greenery when proceeding with town planning projects by quantifying the possibility of allocating greenery in the form of rooftop landscaping in redeveloped areas. Moreover, the distribution of the green in the re-development region was calculated and the coexistence level of green space was calculated, The realities of a desirable green were clarified in the spectacle by understanding a sight and spatial continuousness in the green. In order to clarify the potentiality of roof greenery revaluating, the research was conducted by analyzing from aerial photographs, in Tokyo and Seoul, And the flow of the research was conducted by selection of research object area, taking pictures, acquisition of the aerial photography, rearrangement the data and the analysis. As a result, I was able to prepare a land vegetation coverage classification chart and obtain data pertaining to the level of urban and green tract of land for the researched cities of Tokyo and Seoul. By analyzing this data, we were able to indicate patterns of greenery unable to be obtained through data from ratio of vegetation coverage and ascertain the effectiveness of rooftop landscaping.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.2
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• pp.73-80
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• 2011

The study reviewed the content and the meaning of the present Yeoju Palkyung(eight scenery) through analyzing and interpreting the Palkyung poems, old maps and paintings, and classic materials transmitted in Yeoju area, and investigated the landscape structure of the area around the Cheongshimru(淸心樓: pavilion). On the other hand, many Palkyung poems and Noojeongjeyong(樓亭) poems illustrating the Cheongshimru as the view point or the objective have clarified the scenic excellence when the Cheongshimru is the view point. The Yeoju Palkyung viewed from the Cheongshimru was described as constructing all around allocation structure, and six scenes are categorized as a distant view of the visual influence while the 7th scene Ireungdogyeon and the 8th scene Pasagwau are a psychologically influencing landscapes. The panoramic composition of the Yeoju Palkyung at the Cheongshimru is interpreted as the Seunggyeong distribution considering Palchaejigyeongsaek(八采之景色), where main viewpoint is the Cheongshimru and the distant landscape is Paldaejangrim. The reputation of the Cheongshimru, the central place of the Yeoju Palkyung, is confirmed by the technique of scene processing describing a various way of illustrating landscapes such as near view, distant view, pulling view and collecting view. The restoration of Cheongshimru and Paldaesup(八大藪) currently undertaken is the essential business for the full recovery of the Yeoju Palkyung, which will be not only for physical restoration but also for the shortcut to revitalize the history and the spirit of Yeoju. Furthermore, the business direction should be reconsidered to truly understand the meaning, the value, and the structure of the Yeoju Palkyung to ensure the pursuit of the sustainability aiming at the project "Local attractions", one of the Namhangnag Four rivers project of the ministry of Land, Transport and Maritime Affairs.