• Journal of the Korean Institute of Landscape Architecture
• /
• v.29 no.5
• /
• pp.71-83
• /
• 2001

The purpose of this study is to find out the characteristics of landscape details in representing symbolic images in memorials on the themes of war, tragedy, and the democratization movement. In considering the characteristics of memorial landscapes, the researcher divided the characteristics of landscape details into 3 analysis categories. They are the symbolic application of landscape elements, the embodiment of landscape details, and the organization of landscape details to represent symbolic images, for example, memory, mourning, reflection, healing, glory, and identity. Among details in 24 memorials designed in or after 1970. 133 symbolic details were selected including 64 items in Korea. The analysis revealed that among 30 elements used by designers for memorialization, walls, ponds, sculptures were used more often than other elements in representing the meaning of mourning, reflection, and healing that are the basic function of memorial. In regard to detail form, the designers used basic shapes like circles, squares and rectangles, horizontal and vertical lines to heighten the symbolic effect of shapes in confined form. Stone and water utilized from nature were also used as main materials because of their materiality meaning of death, eternity, life, and healing. The techniques of using lighting, fire, and sound were introduced to make details more effective. Details were organized in harmony and repetition to represent the flew of time and space in symbolic images. The study identified the following characteristics of memorial landscapes in Korea that were different from other country first, in designing memorials, most designers in Korea have been more focused on the organization of space than the details in memorials, and so, they have been neglecting to deliver symbolic image through detail design, while depending mainly on the introduction of art works. Lastly, because they introduced traditional elements which have little relation with the symbolic image needed, there have been many details which inaccurately represent symbolic meanings.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.27 no.1
• /
• pp.54-63
• /
• 1999

The Landscape drawing is used as main media in landscape design process like the language in daily life for human. Designers input many intentions and meaningful words in design process through landscape drawing. The common purpose of landscape drawing is to represent reality effectively, even though it has variable visual forms and materiality. The representation in landscape drawing in metaphorical as well as visual and functional. But current tendency is inclined to use landscape drawing in a functional aspect for visual representation and the landscape drawing is utilized straight-forwardly rather than metaphorically for clear communication. Such recognition on landscape drawing results from the difficulty to accept the symbolic aspect of the drawing. The difficulty makes the utilization and the interpretation of landscape drawing stay at conventional level in following visible factors. For the sake of solving the difficulty this study considers landscape drawing as the text that contains readable objects and symbolic words. This study presents layer-methods for reading a landscape drawing as a text; situational and contextural reading, iconological reading and reading the subject of drawing.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.27 no.2
• /
• pp.140-151
• /
• 1999

The purpose of this study is to trace historical changes and to show broad spectrums in landscape architectural drawing. Drawing has been both a locus of interpreting a site and a vehicle of imagining the new landscape. The designed landscape might be influenced by the way to draw in landscape design. Despite of its importance, landscape architectural drawing has rarely been discussed. Here, the drawing will be understood as theoretical issues and texts for criticism. Recently, the drawing has primarily been recognized in functional and instrumental ways. The stereotypes office drawings such as plan, section, perspective, axonometric are typical examples. Its symbolic and metaphoric dimensions have been seriously diminished. As a result, the poetic power in the designed landscape might be devastated. Composite drawing, notation are the alternative drawings to overcome the above mentioned dilemma along with the adaption of collage and photomontage. Finally, I would argue that landscape architectural drawing can be a creative tool to elicit the idea and to reveal the trace of memory. It could be also a poetic locus to postulating the vision. Designers should utilize both traditional drawing and experimental drawing in order to reconcile the instrumental representation with the symbolic representation.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.31 no.4
• /
• pp.39-48
• /
• 2003

The Office of Korean National Railroads announced a design competition for Kwangyang Station and sought design proposals in October of 2002. The authors collaborated on a landscape design for Kwangyang Station and earned first prize in the competition. The Office decided to construct outdoor public spaces of Kwangyang Station for railroad users, visitors and staff, and local residents. The landscape design covers the following: site inventory and analysis; integration of design program and site analysis; evaluation of design concept; selecting a winning design alternative; schematic design including circulation form and spatial form; and design development including subarea design. In the design process, the authors focused on the integration and interpretation of site conditions as related to the Kwangyang Station building. They also collectively analyzed and considered the physical development of the outdoor spaces of Kwangyang Station. The following are some of the major areas in the design of the outdoor spaces of Kwangyang Station: 1) a plaza for waiting, 2) an entry area for passengers, 3) a train cafeteria, 4) a cultural plaza, 5) an image wall, and 6) a symbolic pond. The plaza for waiting is created as a place for users to wait and rest. The entry area for passengers provides an area for pedestrians approaching, passing and strolling. The train cafeteria features trains, lawns, grasses and trees. The cultural plaza is a main area representing the regional characteristics of Kwangyang. This plaza also provides an area for various public events. The image wall is meant to be an exhibition space for displaying the advancements of Korean National Railroads in sculptural image forms. The symbolic pond consists of an area with symbolic water features and several sculptures with artistic value. In the authors' design, the outdoor spaces of Kwangyang station are created as a new type of public realm with function, regional quality, original identity, cultural context, symbolic meaning and images, and beauty. The designed spaces would be one of the most representative places of interest and attraction in Kwangyang.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.30 no.2
• /
• pp.79-87
• /
• 2002

This landscape design proposal was presented to a design competition for the KangWon Province Police Agency(KPA). The site, about 27,711 $m^2$, is located at 293-4 Udu-dong, Chunchun, KangWon-Do. Design objectives of the KPA were to build a symbolic place which fall community members with pride, to elevate an identity and status of the KPA by creating a landscape correspondent to the concept of the building design, to provide community residents with a space to enjoy cultural and social activities, and to make environment friendly space. The main concept was developed by one of characteristics of the traditional spatial structure of Korea known as an, 'Open and Closed spatial structure.'By re-interpreting the traditional spatial structure and applying it to the site, the design met the various desires of the KPA. The site is primarily segmented into 6 sub spaces; entrance space Podori plaza, symbolic court, police billeting area, sports area, and rear rest area. The entrance space, Podori plaza, and symbolic court on the south-west part of the site represent the publicity of the site as the concept of ″open space.″ On the contrary, considering the specialty of police affairs, the north-east part of the site, which contains the police billeting area and rest area, were designed to maintain security by using the concept of ″closed space.″ To express an identity of the KPA, 'Podori', a police mascot, the plaza was designed and is suppose to function as the hub of the community. In the front section of the plaza, a symmetrical planting pattern, centering the strong axis, was introduced to strengthen its symbolic meaning. Traditional window frames such as the pattern of 'Pisal-jige'and 'Umulsal-jige' were used for the paving system which is applied as the environment friendly design. Site facilities and furnitrue were placed at every important spot in order to connect various spaces organically. As these well-tied spaces properly shared their function, spatial sequence and management would be promoted. The entire space was designed to allow free access of handicapped people. This proposal is meant to create a new image of KangWon province and to enhance the way of inhabitants' think about their community.

• Journal of architectural history
• /
• v.26 no.6
• /
• pp.29-40
• /
• 2017

Soswaewon as a typical villa garden of Korea is a symbolic garden that its diverse compositions imply a specific meaning. This study reviewed the purpose of introduction, meaning, and location of the landscape plants as one of the compositions and covering quite a large part of Soswaewon through 48 Yeong (meaning 48 poems of Soswaewon) and Soswaewondo (meaning Map of Soswaewon). In 48 Yeong, 27 verses describe landscape plants as their key poetic matters. The most frequently mentioned top 3 plants are bamboos, pine trees, and Japanese apricots. The three plants are called Sehansamwoo(歲寒三友) showing constant fidelity and loyalty in any changing situations, which was regarded to represent the nature of scholars. And also the study examined the frequency and planting location of the plants in Soswaewon by comparing 48 Yeong and Soswaewondo, and the result showed some differences between them. That seems to be caused by the limitations in the comparison, because in case of 48 Yeong, the location and frequency of landscape plants can be examined only through the context of the verses, and Soswaewondo showed different production time from 48 Yeong and expressed them only in a form of drawing. The plants have symbolic meanings multi-layered and ambiguous. With their symbolic meanings, the landscape plants reviewed through 48 Yeong consistently represent fidelity and loyalty, man of virtue, and hermit. That is, Soswaewon is the garden granting some significance to its compositions by interacting with the things.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.38 no.2
• /
• pp.77-94
• /
• 2020

Gugok poems were an important material for studying the Gugok landscape garden(九曲園林). the landscape feature(景物)that emerges from poetry is an important material that expresses the sense of placefulness and garden consciousness(園林意識). However, many studies are passive about plant materials that can explore the perception of nature or the aesthetic embodiment process. Therefore, this study seeks to discover various symbolic meanings and reveal the context of plants that have appeared in Gugok poems in order to expand the research material of the Gugok culture. To carry out the purpose of the study, I collected a total of 25 related poems from 18 Gugoks and found a total of 20 species of trees. I used 'R-program' to derive the meaning of trees and examined the meaning of trees by intertextuality. According to the study, the 20 species of trees contained symbolic meanings of world of Taoist hermit, pursuit of study, constancy, true pleasure, dignity, honest poverty, reign of peace, nostalgia. Many species focused on the symbolism of the 'world of Taoist hermit' and then on the 'dignity' was the most frequent. A number of species, except for the peach, zelkova and oak, had multiple meanings. Among them, pine trees and lotus had a wide range of symbolic meanings and different meanings depending on the characteristics of the surrounding landscape. While the Gugok culture generally targets natural scenery, Yongsan, Toegye, Deoksan, and Jusan showed the characteristics of strengthening or reproducing symbolic meanings through artificial plating and gardening. In order to overcome the limitations of the peach tree, which symbolizes 'Mureungdowon(武陵桃園)', Gugok poems used maple trees and reeds as alternative species. In accordance with the above context, the trees appearing in the Gugok poems expressed their symbolic meaning differently according to the landscape features, acts and purposes of the Gugoks, rather than sticking to the traditional meaning.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.23 no.4
• /
• pp.40-49
• /
• 1996

The judgement of how good a memorial park is designed in terms of representing symbolic meanings through moonument depends on whether it decisively reflects peoples' common value and affection to specific event or place of the park. It is in fact, not easy to define the kind of value and affections peoples have in mind for the park. It is likely that most park design concepts are primarily based on designer' subjective view of the world by which the public is expected to understand, accept, and eventually share the common symbolic meanings of the park. AS memorial park design as the works of art might be appreciated not only in view of artistic performance of designer but in terms of its social meaning of the newly defined space. Two cases of park designs by author include issues on conceptual alternatives, experience of memorial space, symbolic use of materials, and perspectives on the direction of contemporary park design. It is noteworthy that authentic approaches should be challenged for a new way in which symbolic meanings could be given in rather contradictory style.

• The Journal of Natural Sciences
• /
• v.16 no.1
• /
• pp.55-75
• /
• 2005

This proposal is to present a campus landscape plan for PaiChai University. The site is located in 439-6 Doma-dong, Seo-gu, Taejon City and has an area of $208,499m^2$. The landscape plan covers the following: site inventory and analysis; integration of design program and site analysis; evaluation of design concept; schematic design including circulation form and spatial form; and design development including subarea design. In the design process, the author focused on the integration and interpretation of site conditions as related to the university buildings. He also collectively analyzed and considered the physical development of the outdoor spaces of Paichai University. The following are some of the major areas in the design of the outdoor spaces of Paichai University: 1) a main entrance space as a symbolic square, 2) Paichai central street, 3) a campus core as a greenish square, and 4) a 'Jajuro' plaza as Paichai 'Han' square. The outdoor spaces of Paichai university are created as a new type of campus realm with function, campus quality, original identity, symbolic meaning and images and beauty.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.34 no.4
• /
• pp.78-88
• /
• 2016

The comparative analysis result of appearance characteristic of landscape elements and symbolic elements implied by the tablets on the 16th century's Korean Damyang garden and Chinese Suzhou garden is as follows. First, among the landscape elements implied in the tablets, appearance rate of botanical factors appeared high in the gardens of both areas. Damyang garden displayed bamboo grove and natural forest around the garden, while Suzhou garden displayed artificial mountain(假山) created artificially and a variety of plants including lotus, bamboo, and pine surrounding it were associated with the significance of the tablets. On the other hand, climatic/celestial elements including the rain, wind, and the moon were associated with the tablets of Damyang garden, while the artificial factors such as the building, bridge, and book, etc. were mostly were associated with the tablets of Suzhou garden. Second, among the symbolic elements included in the tablets, ethical personality which is the basic virtue of a noble man(聖人), was the universal characteristic of the meditation world of the garden in both areas. However, a will for political stability was mostly associated with the tablets of Damyang garden, while the retrospect heart for the immortal was mostly associated with the signboard in Suzhou garden. It was concerned with political ideal and the thought of Confucianism respectively. Third, the symbolic elements that appeared frequently in the tablets of Damyang garden, "Ethics" and "Political stability", were associated with the scene atmosphere created by the climatic elements and celestial elements. On the contrary, the symbolic elements which most frequently appeared in the tablets of Suzhou garden, "Ethics", was associated with the symbolic significance of the plant. The invisible space of gardens was expanded by tablets in both areas.