• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.1
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• pp.121-130
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• 2011

This research is an explorative research done on finding sights in documents related to landscapes that are described in personal essay collections of late-Joseon Dynasty, and to fathom the possibilities of finding the actual landscape by analyzing the landscape and features of the landscape. The target sight of this research is to find all the features and landscapes of the Nong-yeon Seodang 10 scenery that are described in Choi Dong-Jip(late-Joseon Dynasty scholar)'s Daeam Sunsaeng Munjip. The results are as follows: 1) a theoretical inquiry into Daeam Choi Dong-Jip and his descendent Baekbulam Choi Heung-Won(who had compiled Daeam Sungsaeng Munjip)'s background and Nong-Yeon Seodang has been done, 2) Nong-Yeon Seodang's location was found through historical documents and field investigations, and 3) the features of landscapes related to Nong-Yeon Seodang 10 scenery and its distribution and the significance were analyzed. Through this inquiry, organization of Nong-Yeon Seodang and the significance of its direction were reflected again, records on garden organization were checked, and a direction for continuation of research was suggested.

• Journal of The Geomorphological Association of Korea
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• v.19 no.3
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• pp.123-134
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• 2012

This work is to describe the geomorphological landscapes of of Dongcheon-gugok in Korea, and attempts to develop a basic data for traditional natural heritage. Dongcheon-gugok is a union of natural lanscape and human mind-activity. Therefore the study of natural landscape, which consists of geomorphological landscapes, provides a basic data for the use and conservation of traditional natural heritage. Dongcheon-gugok in Korea is almost distributed in the valley of mountainous areas of Taeback and Soback Mountain Ranges. The bedrocks of the areas of Dongcheon-gugok are almost granitic rocks and sedimentary rocks. The landscapes of Dongcheon-gugok is characterized by narrow meandering valley, so Gugok means nine-bended river. The elements of the geomorphological features is a broad flat rock with sheeting joints, joint-block seperated large blocks or tor, steep slope and rocky cliffs, pool, ripple, large or small scale waterfall, pot-hole, etc.

• Journal of Ecology and Environment
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• v.41 no.3
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• pp.54-65
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• 2017

Background: "Igune," a traditional agricultural landscape in the Tohoku region of Japan, is characterized by small-scale artificial woodlots surrounding a farmer's house that are interspersed with paddy fields. During the rapid economic growth of Japan over recent decades, some igune woodlots have been abandoned or logged. Biodiversity conservation is an important issue worldwide, and traditional agricultural landscapes are of particular interest. To elucidate the role of igune landscapes in conserving biodiversity, we examined the effects of environmental factors on avian communities. Results: The study was conducted in the suburban areas of Oshu and Hanamaki cities, Iwate Prefecture, Japan, at eight sites that varied in the density and area of igune woodlots within the landscape. Bird surveys were conducted from the middle to late breeding season, and several environmental factors of the igune landscape were also measured. The results of canonical correspondence analysis indicated that the characteristics of avian communities were mainly determined by the total forested area in the landscape. Increased total forested area and shrubs layer of igune woodlots did not cause a reduction in number of bird species of any habitat and foraging types, while increased both in species number and abundance of insectivores and forest species. The number of raptor species increased in igune sites without shrubs. Conclusions: Our results suggest that maintaining igune landscapes may enhance avian diversity within this landscape, although the effects of shrubs within igune varied; developed bush communities increased the evenness of the avian community, whereas some raptor species preferred an open forest understory.

• Journal of the Korean Institute of Landscape Architecture
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• v.52 no.4
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• pp.18-31
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• 2024

This study examines the inscription trends and characteristics of 121 cultural landscapes inscribed on the UNESCO World Heritage List to gain a comprehensive understanding of their inherent values and attributes. By employing a dual methodology involving descriptive statistical analysis and in-depth case studies, this research investigates the geographical distribution, temporal inscription patterns, selection criteria, and typologies of these landscapes. The data for this study were collected from official documents and databases available on the UNESCO World Heritage Center website, ensuring the reliability and authenticity of the information. The analysis reveals that cultural landscapes are predominantly concentrated in Europe and Asia, with a steady increase in inscriptions since 1992. These landscapes are primarily recognized for their uniqueness in reflecting human-nature interactions, as well as the importance of traditional culture and land-use practices, resulting in their inscription mainly under criteria (iv), (iii), (v), and (ii). Furthermore, cultural landscapes can be broadly categorized into three types: designed landscapes, organically evolved landscapes, and associative landscapes. Among these, organically evolved landscapes, formed through long-term interactions between human activities such as agriculture and industry and the natural environment, constitute a significant proportion. These findings suggest that UNESCO World Heritage cultural landscapes possess a complex value system encompassing nature and culture, tangible and intangible elements, and material and non-material aspects. This necessitates a fundamental shift in the perception and preservation approaches to cultural heritage, requiring an integrated approach that emphasizes the overall context rather than individual elements and focuses on the dynamic process of landscape evolution itself. Moreover, cultural landscapes have the potential to contribute to sustainable development models by fostering regional identity, strengthening community resilience, and promoting sustainable economic growth. Therefore, the preservation and management of cultural landscapes require a perspective that holistically views the dynamic evolution process of the landscape and a governance system based on the active participation of local communities and stakeholders. This study contributes to enhancing the in-depth understanding of the characteristics and values of cultural landscapes and provides a foundation for the selection and management of future cultural landscape heritage sites.

• Journal of the Korean association of regional geographers
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• v.16 no.4
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• pp.355-368
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• 2010

This study is to make a framework of newly interpretating the dynamic change of regional or local landscape rapidly occurred after the establishment of the nation state and capitalistic system. The basic concepts of making an interpretative framework are power, subjectivity, and performativity. The framework of closely interrelating the three concepts developed in the near future will be applied to the interpretation of variety of (de)centralized landscapes in regions or locals. A centralized political power under the nation state has destroyed or marginalized the historically developed landscapes, traditional culture, and subjects' values in regions or locals by the political implementation of the nation state, the establishment of national identity, a centralized economic development, and so on. The landscapes produced by the political power of the nation state can take a role as a cause of conflicts in regions or locals in terms of a historical perspective. Landscapes are being made by various subjects, and the produced landscapes also positively or negatively will influence the emotion, cognition, and behavior of the subjects particularly in a performative perspective. The dynamics interrelation between subjects and landscapes has been disguised or marginalized by reason/rationality, totality/collectivity, the separation between reason and emotion mainly made by modernism, the nation state, a capitalistic system. The interrelation between landscapes and subjects is especially emphasized on people's resistibility and creativity. Lastly, landscape is not a concept given as a priori or (re)presented objectively. It is not also a material or an object independently existed from a subject's emotion and cognition. It should be interpreted through a performative relation with subjects. Performativity will take an active role of combining the materiality of landscape, power, and subjectivity. It is also important to understand the active role of landscapes.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.2
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• pp.14-27
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• 2012

This study aimed to discover new types of landscape resources that have not designated as cultural heritages through a survey of the nationwide traditional industrial landscape resources whose original forms have been lost or damaged in the aspect of management and conservation. It also discovered and analyzed the values of the traditional industrial landscape considered to be humanistic and cultural values. Among the traditional industrial landscape resources distributed nationwide, this study mainly investigated Daranginon, Dok-sal(Korean traditional stone fishing weir) and saltern. Make a list of traditional industrial landscape based on the scenic resources and analyzed the value as scenic spot by conducted basic research and field work. In case some resources were highly valued, this study aimed to rediscover the value as a cultural heritage of the traditional industrial landscape that was a basis of our ancestors' lives and has represented our traditional agricultural and fishing activities done by them over a long period of time by exploring the possibilities of being designated as cultural heritages. Continuous discoveries and studies of traditional industrial landscapes, conservation and usage of traditional industrial landscapes by being designated as a cultural heritage required to be done will be required to be done. Also, this study was supposed to be used as a basic data.

• Journal of the Korean Institute of Rural Architecture
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• v.11 no.2
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• pp.45-52
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• 2009

In our traditional living lives, our ancestors have been succeeded in and developed the shortage-replenishing materials to balance with the nature and supplement the condition of geography by the measures, called the BiBo, in order to be harmonized with the nature. This study is purposed to find the meaning and quality of the BiBo materials distributed throughout the agriculture village in Yeoungdong area, Gangwon province in terms of scenery perspectives. It is found that there are 56 village forests, 18 BiBo symbolic properties and 2 BiBo ponds in Yeoungdong area, Gangwon province. Among these, village forests are largely consisting of pine trees and most of them are functioned for water-entrance defender. Including these village forests, the BiBo symbolic properties are important historic and cultural resources in this area and expected to be used as the income-source of the farm village.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.4
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• pp.18-27
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• 2018

This study is a basic one analyzing the scenic characteristics that are created in Royal Garden in China while taking into consideration that Royal Garden in China is a fruit compiling all of the Chinese classical gardens. In case of Summer Palace in China, it adopted various kinds of landscape displaying techniques for fulfilling the desires of an Emperor who wanted to appreciate beautiful landscapes all the time. Accordingly, the scenic characteristics can be summarized as follows. First, Summer Garden creates various kinds of garden landscapes through various kinds of landscape creation techniques, such as, Borrowed Landscape, Central One, Background One, Symmetrical One, Axial One, Dividing One, Framed One, Window One and Complementing One, etc. Second, it was created in order for visitors to focus on appreciation of landscapes by allocating hard points while considering the symmetric structure, Structure of Long Corridor and Visual Physiology of a building on the basis of the South-North Pivotal Line. Third, it utilized the scenic spot transferring technique that introduces the landscapes of scenic spots in various regions of China to Summer Palace to be matched to the unique geological characteristics of Summer Garden. It was found that Summer Palace adopted the common landscaping techniques in Jiangnan Region of Ancient China since the landscape of Jichang Garden in Hangzhou and that of Shan Tang Jie in Suzhou are reproduced and transferred. It was found that 3 methods mentioned above have the effects that attract sightseers' eyes naturally and make their interests concentrated as well as reviving the feeling of space in a garden and creating abundant scenic beauty.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.38 no.1
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• pp.92-102
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• 2020

The followings are the landscape preference aspects from the 816 landscapes(景, Kyung), which comprise the 78 modern Palkyungs, presented by the 78 local governments in Korea. First, the natural environment elements selected as Kyung(景), which are topographical landscapes, mostly consist of mountain elements such as mountains, terrace(臺), rocks and stones and water elements classified as rivers, oceans, and lakes. Natural elements also include old-growth and giant trees such as pines, ginkgos, Japanese cornels and fringe trees, tree-lined streets and forests, and plant elements such as azaleas, rhododendrons, lotuses, reeds, and silver grasses which provide seasonal landscapes. Second, more than half of Kyung, selected as human environment elements, are historical and cultural heritages such as graveyards, mountain fortresses, town fortresses, traditional villages, pavilion in villas, and temples. And it is followed by leisure tourism facilities such as traditional markets, exhibition halls, theme parks, beaches, and food streets, green-based structures such as trails, plazas, parks, and botanical gardens, and industrial heritages such as ranches, abandoned coal mines, stations, ports and bridges. Third, modern Palkyungs include objects not related to the views such as local representative facilities, regional products, and festivals. Fourth, although most of the modern Palkyungs consist of eight, some include 20, 38, or 100 in order to increase the number of objects of public relations. Fifth, a certain local government makes two modern Palkyungs with different subjects by introducing traditional Palkyung and modern Palkyung altogether. In this case, it presents several modern Palkyungs like by selecting Palkyungs in a limited area. Furthermore, one Palkyung includes numerous place names at a time in some cases. Sixth, Sosangjeonhyeong(瀟湘典型)-style modern Palkyung uses 'NakAn(落雁)' as the name of Kyung. Sosangyusahyeong(瀟湘類似型)-style modern Palkyung expresses 'Hyojong(曉鐘)' and landscape of glow of the setting sun, sunset, night view, dawn, sunrise and depicts cloud, sunset, moon, and snow. There are many Myeongsocheheomhyeong(名所體驗型)-style Palkyungs exhibiting the behavior of tourism and Myeongseunghyeong(名勝型)-style Palkyungs raising the awareness only by the names of the places. Seventh, modern Palkyung's naming styles are diverse, such as using only four letters instead of specifying Kyungmul(景物) or Kyungsaek(景色) in combination with Chinese characters or adding modifiers specializing in places.

• Journal of architectural history
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• v.11 no.3 s.31
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• pp.105-120
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• 2002

Eight drawings of Sukcheon-je-a-do are the architectural drawings of the government offices. These were drawn in the representation of Sabang-jeondo-myobeob. Sabang-jeondo-myobeob is one of Korean traditional drawing type, that is constructed with turned-over elevations drawn on the site plan. The analytic observation viewed in the iconographical diagrams of eight drawings led me following conclusions. First, the most typical expression of Sabang-jeondo-myobeob can be summarized as the combination of three elevations toward the inside and one elevation toward the outside. The former is expression of territoriality, and the latter is expression of the facade. Second, in Sabang-jeondo-myobeob both elevations of crosswise direction and of lengthwise direction are described at the viewpoint of eye level. And they center around the courtyards with intent to describe the relation between buildings and the outdoor space. Third, the facade of pavilions, disposed on the crosswise direction in Sabang-jeondo-myobeob, are described with the both viewpoint of down-view and up-view. It is the expression peculiar to Korean traditional drawings, that describes the depth and richness on the facade of traditional wooden architecture. Fourth, some pavilions and landscapes are described in Pyonghaeng-saseon-dobeob, that is familiar drawing type in the Korean traditional paintings. From this expression we can deduce that the traditional architectural drawings such as Sukcheon-je-a-do were constructed by the traditional landscape painters.