• Journal of the Korean Institute of Landscape Architecture
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• v.25 no.4
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• pp.61-81
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• 1998

This paper is to explore a new planning paradigm for urban landscape-not a new paradigm for urban landscape planning- in the light of environmental aesthetics. This is an endeavor to construct an alternative to the philosophical absence in the landscape profession. The landscape has been conceived of visual -oriented urban scene, and this notion is one of consequences of subject-object dualism in Western modernity project. In contrast with this convention, the authors consider urban landscape as the aesthetic field in which an experience of urban landscape actually works in human ordinary life and experience. To acquire an aestetic experience in this aesthetic field, we need to replace the doctrine of disinterestedness with engagement and contemplation with participation. This concept of participatory engagement with landscape can be translated in specific and concrete ways into urban landscape planning, replacing the traditional panoramic landscape with engaged landscape. The authors approach the urban landscape from the vantage point of an aesthetics of engagement by developing the four environmental situations : the sailing ship, the circus, the cathedral, and the sunset. They may serve as useful guides in cultivating and beautiful urban landscape to replace the forces of vulgarity and monotony that depress the modern city. What is beautiful urban landscape\ulcorner What makes the urban landscape beautiful\ulcorner Finally, the authors suggest identity and amenity as practical concepts of urban landscape planning for an aesthetic experience.

• Journal of the Korean Institute of Landscape Architecture
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• v.45 no.4
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• pp.71-80
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• 2017

Landscape design pursues a balance among different values in our society, but aesthetic value and ecological value in landscapes must bring complex relationships into harmony. Ecological aesthetics can be defined as a domain of study that manages the relationship between landscape ecology and landscape aesthetics to create aesthetically attractive and ecologically beneficial landscapes. Despite the importance of the research area, there has been limited empirical research addressing ecological aesthetics. This article aspires to connect and expand the conceptual framework to the research methodologies of ecological aesthetics. First, this study suggests a conceptual framework that examines the relationship between landscape and perceptual process in the context of ecological aesthetics. This framework stresses the importance of information and design intervention as moderators in this relationship. From this framework, three key topics in ecological aesthetics arise: (1) correlation between ecological integrity and aesthetic preference, (2) "compromised" design and management intervention principles that enhance aesthetic pleasure and still have biodiversity, and (3) the impact of information intervention in aesthetic experience. The framework indicated three domains affect each other; thus, when one domain is studied, the other two need to be considered. Secondly, several theoretical and empirical studies on ecological aesthetics will be reviewed from a methodological point of view. This will help to consider ecological aesthetics research, which has primarily been limited to theoretical discourse in empirical research.

• Journal of the Korean Institute of Landscape Architecture
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• v.24 no.3
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• pp.79-95
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• 1996

The traditional gardens of China were constructed on the basis of the common aesthetic consciousness between designers and users. As designers and users communicated each other through the medium of garden, they give suggestions to our design and appreciation of modern landscape architecture. The traditional gardens of China pursued to reach the state of Yi Jing(意境), and this state formed the keynote of the whole field of Chinese culture. Yi Jing is the aesthetic theory originated in Pre-Qin Era, and established in Tang-Dynasty. After this, this theory become the very important aesthetic category of Chinese aesthetics. Yi Jing is the process from conception to appreciation, and requires the three parts of designer, a work of art, and appreciator. To reach Yi Jing, designers must be well grounded and persevere in their efforts. They also had to have the ability of corresponding the inner order of environment and landscape, and expressing their own feelings and emotions into gardens. So ultimately, they were in pursuit of constructing the gardens as if something naturally created. The garden itself is the meeting place of designers and users. The space in which users can think of life, nature, history, and cosmos. In order to do this, designers design the real landscape and non-visual landscape. This design can give appreciators more fertile imagination. Appreciation perfects the Yi Jing of gardens. Yi Jing is created by co-work of artist and appreciator with common aesthetic consciousness and sense. Therefore, it is subjective, and it may be vary with man and time.

• Journal of the Korean Institute of Landscape Architecture
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• v.43 no.2
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• pp.30-39
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• 2015

The English Landscape garden and picturesque aesthetics, which was in fashion during the 18th to early 19th century in England, has been accused of making people see the actual garden in terms of a static landscape painting without a synesthetic engagement in nature. As new optic devices such as diorama, panorama, photography, and cinematography were invented, ways of seeing nature transitioned from a perspective vision to a panoramic, that is, modern one. This study intends to uncover signs of this kind of modern vision in the picturesque aesthetics and visual representation of landscape gardener Humphry Repton. German garden theorist Christian Cay Lorenz Hirschfeld contended that the English landscape garden was a new style of designing landscape that followed the principle of the serpentine line, which produced movement in sightlines; thus, he considered garden art as a superior art form among all other genres. The signs of visual motion appear in Repton's sketches of "Red Books". Firstly, he designed systemic routes in his clients' properties by considering different types of movements between walks and drives. Secondly, he often used the visual effects of panoramic views for his sketches in order to allow his clients to experience the human visual field. Lastly, he constructed sequences of sketches in order to provide his clients with an illusion of movement; in other words, Repton's sketches functioned as potential visual media to produce the duration of time in a visual experience. Thus, the garden aesthetics of the time reflected the contemporary visual culture, that is to say, a panoramic vision pertaining to visual motion.

• Journal of the Korean Institute of Landscape Architecture
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• v.35 no.4
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• pp.1-15
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• 2007

The purpose of this study is to mate a basic foundation for the discourse of Koreanness of contemporary Korean landscape architecture by way of searching the conceptual definitions of Koreanness through analysis of Koreanness discourses. The results are that discourses of Koreanness are to be classified in aesthetics type, spatial-temporal type, and cultural type. Aesthetics type is understood as style in terms of formal and design representation planning principles of spatial composition and immanence in terms of philosophy. Spatial-temporal type is understood as contemporaneity. This is classified as the concept of connoting of tradition, and separating and keeping a distance from tradition. Cultural type is prescribed as cultural identity. This is classified as unity, generality and individuality. The intension of Koreanness of these types is represented as an aspect changing and shifting from one regulation to another regulation. First, in the concerns of substantial archetypes like Korean original form, decorative element, spatial composition aesthetic perception and philosophy, Koreanness shifts to the point of view of contemporaniety which is created and defined in history. Second, Koreanness as contemporaniety shows a trend of shifting the point of view which is to be found through the reconsideration on modem history and modernism. Third, Koreanness defined as cultural identity shows a trend to emphasize the differences in other cultures and includes all the modem cultural agents. The number of views understood as individuality and denial are small but provide important points. Programmatic definition of Koreanness is not suitable. This basic study uses a stipulative or operational definition of Koreanness in many ways such as spatial and regional identity. Koreanness study for Korean contemporary landscape architecture requires a systematic understanding of modernity and colonization relating to identity. Also, it is needed to elaborate on the discourse to divide the meaning of a concept of identity.

• Journal of the Korean Institute of Landscape Architecture
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• v.29 no.5
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• pp.115-124
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• 2001

The purpose of this study is to examine the rightness of establishing the Essential Act of Landscape Architecture in Korea and to present the legal phase, the legislative system and the construction of a contents at the expected enactment of it. It is necessary to point out the problems of the various fields of landscape architecture and to propose the solutions of them. The contents of the study are as follows, 1 . The number of the regulations related to landscape architecture is a good reason for which the field of landscape architecture is worth being included to the positive law. 2. The problems by items(ordinance, engineer, contract, planning, design and supervision, construction, maintenance, plant and planting, material, aesthetics and sight, environmental conservation and ecology, right and penal regulations) to the domestic related regulations being at issue and the remedies for it shall be considered at the enactment of the Essential Act of Landscape Architecture. 3. The number of the domestic regulations being related to landscape architecture which have a term of\` the Essential Act∼\`is 5. 4. The Essential Act of Landscape Architecture is the separate Essential Act welch defines the scope of landscape architecture as construction works and controls the business essentially. 5. The meaning and character of the Essential Act of Landscape Architecture was examined and the reasons for that essential act were recognized in point of the legal, landscape architectural and educational systems. 6. The creation of new official landscape architectural organization is a reason to justify the enactment of the Essential Act of Landscape Architecture. 7. The legal phase, the legislative system and the construction of a contents of the Essential Act of Landscape Architecture ware presented and this act shall conform to such as the legal system of the Architectural Act, the Essential Act of the Construction Industry and so on. The result of this study will be the basic materials for the creation of the Essential Act of Landscape Architecture.

• Journal of recreation and landscape
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• v.11 no.2
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• pp.1-11
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• 2017

Recently, growing emphasis has been placed on the installation of rain gardens. However, previous rain garden studies have mainly focused on physicochemical effects such as rainfall runoff management and water quality improvement. Therefore, this study aims to investigate general perceptions of rain gardens and landscape aesthetics among rain garden visitors. To achieve this goal, a survey of 100 rain garden visitors was conducted, gathering information about their general perceptions of rain gardens and landscape aesthetics at three pre-selected rain garden locations. Results showed that rain garden recognition was limited to 34% of the respondents, indicating that most people were not aware of rain gardens and were unable to notice differences between rain gardens and traditional gardens. However, stronger support for rain gardens was observed among those who were aware of the concept, those who recognized that rain garden planting types are differentiated from traditional gardens, and those who rated positively the landscape aesthetic value of rain gardens. The main findings are expected to encourage further studies of quantitative indicators by conducting a correlation analysis between aesthetics and functionality of rain gardens.

• Journal of the Korean Institute of Landscape Architecture
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• v.21 no.3
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• pp.35-49
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• 1993

The purpose of this study is to establish some concepts, objects, and methodologies which are essential components in the theoretical inquiry of Landscape Architectural Criticism(LAC), and to explore the structure of LAC. Theough comparing the artistic characteristics of landscape architecture with the latent criticism in it, and introducing some important concepts of criticism and aesthetics, the concept of LAC is defined operationally. And through grasping changes of the definitions and concepts about landscpae architecture, and classifying the fields of it which are related to critical structure, the objects of LAC are established. According to Virgil C. Aldrich and many other aestheticians, general aspects of criticism are divided into $\circled1$analysis, $\circled2$ evaluation, $\circled3$interpretation, and $\circled4$description. Through these aspects and Wayne Attoe's opinion(which seemed to be generalized in architectural), the pertinent methodologies of LAC are explored.

• Journal of the Korean Institute of Landscape Architecture
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• v.51 no.6
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• pp.12-32
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• 2023

Nowadays, the increasing number of religious travelers seeking inner healing has led to the popularity of Buddhist 'temple stays', Protestant and Catholic 'retreats' as alternative vacations. However, unlike Buddhist temples, which are inculturated, Christian retreat centers follow the formula of general recreational facilities and lack an overall framework due to relying on sponsorship. This study attempts to design appropriate outdoor environments for a retreat by reflecting 'theological aesthetics' based on the process of 'Spiritual Exercises', the main method of retreat. First, as the Spiritual Exercises are often described as an 'inner pilgrimage', the images and theological aesthetics experienced in prayer themes were examined. Next, the characteristics of the spaces required for the facility were analyzed, and the composition of religious spaces was proposed. Also the landscape resources of the site were investigated, and the retreatants' behavior to derive spatial preferences was analyzed. Overall, outdoor spaces were planned to induce a shift in consciousness and broaden the spectrum of the retreatants' experience through a physical environment consistent with the mechanism of prayer. This study aimed to implement theological aesthetics by selecting a retreat center with high potential for landscape resources. As a result, it was possible to reveal the 'poetic landscape' to effectively evoke images during 'contemplative prayer', and to support religious experience. The significance of this study lied in deriving various design vocabularies for outdoor spaces of religious facilities.

• Journal of the Korean Institute of Landscape Architecture
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• v.51 no.2
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• pp.42-53
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• 2023

This paper explores the recent development of environmental aesthetics and critically examines the main agendas, claims, issues, and implications of everyday aesthetics, which is emerging as an important branch of environmental aesthetics. Environmental aesthetics began in the context of cultural change and environmentalism in the 1960s and expanded in the second half of the 20th century with a solid theoretical foundation. At the beginning of the 21st century, it entered a process of diversification of objects and subjects. Having reached academic maturity, environmental aesthetics has expanded into theoretical territory considering the urban environment and the human environment, providing practical coordinates as a discourse for planning and designing urban environments and landscapes. The most notable achievement of environmental aesthetics since the mid-2000s is the establishment of 'everyday aesthetics'. Yuriko Saito, who is leading the research on everyday aesthetics, expanded the objects and scope of aesthetic theory to everyday objects, events, activities, and environments. She excavates the microscopic and sensory aspects of everyday life, which have been overlooked by conventional art-centered aesthetics, through the lens of aesthetics. She reinterprets various layers of phenomena in contemporary urban landscapes and analyzes how the 'power of the aesthetic' hidden in everyday life profoundly affects the quality of life and the state of the world. Saito examines the appreciation of the distinctive characteristics and ambiance inherent in everyday objects and environments and proposes a 'moral-aesthetic judgment' to alert citizens to the environmental, social, and political consequences of everyday aesthetic appreciation and response. This paper identifies the issues and implications of everyday aesthetics as first, the expansion of aesthetics and the ambiguous everyday, second, the moral-aesthetic judgment and the aesthetics of care, and third, urban regeneration landscapes and aesthetic literacy. In particular, the moral virtues of everyday aesthetics that Saito proposes, such as care, thoughtfulness, sensitivity, and respect, provide a critical reference for the practice of contemporary urban regeneration landscapes. The 'aesthetic literacy' is a key concept demonstrating why an environmental aesthetics perspective is necessary to interpret everyday urban environments and landscapes.