• Journal of the Korean Institute of Landscape Architecture
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• v.34 no.1 s.114
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• pp.59-68
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• 2006

This paper examines the conceptual shift of wilderness and its legacy to the contradictory view of nature in landscape architecture tradition. In hunting and gathering societies, there was no dichotomy between the cultivated environment and wilderness. 'Wilderness' is a word whose first usage marks the transition from a hunting-gathering economy to an agricultural society. We can identify two archetypal responses to wilderness: classical and romantic. In the classical perspective, wilderness is something to be feared-an area of waste and desolation. The conquest of wilderness and the creation of usable places is a mark of civilization. For the romantics, in contrast, untouched wilderness has the greatest significance; it has a purity that human contact tends to sully and degrade. Wilderness for the romantics is a place to revere, a place of deep spiritual significance, and an object of aesthetic experience. In the Western world, the classical position predominated until the last two hundred years when the romantic concept began to gain more ground. The shift was made possible by the change in the way nature is understood. Modernity and modern science objectified nature. The transition of the concept of wilderness exemplifies the objectification and pictorialization of nature. Wilderness in the modern era is not different from the pastoral landscape which can be controlled by landscape architects.

• Journal of the Korean Institute of Landscape Architecture
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• v.26 no.3
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• pp.267-277
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• 1998

The background of this study is to provide meaning of landscape history and to find out landscape origines which were strongly concerned with the nature through breaking out the form of conventional adapting elements from an exterior. And the purpose of this study is to review Brown's philosophy as picturesque landscape architectur and to provide useful Brown's characteristics to contemporary landscape by epitomizing his design elements. Brown estiablished a foundation of the English landscape garden of the eighteenth century. And the concept, the beauty of nature, is considered as a beginning point of modernism study. The study of the Brownian style as profoundity theme is conversion view to the development of the history of garden. These days, the restoration of the Brownian style at the public or garden design in England is based on the nature recourse of the original character of human. And also his style can be understood to seek the progressive transformation as to perfectly known the possibility of the place, to get clues to the solutions, and to be able to iprove the quality of environment. Therefore, Brown's efforts for seeding the essence of landscape architecture escaping from Englands old-fashioned landscape design skills might be considered in high worth.

• Journal of the Korean Institute of Landscape Architecture
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• v.49 no.1
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• pp.19-30
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• 2021

This research studied the effect of visual improvement of "72 Hour Project" that has regenerated small scale derelict spaces in Seoul through citizen participation. 29 projects built form 2016 to 2019 were analyzed. The research analyzed landscape image preference of before and after status of projects using 12 pairs of landscape adjectives. Basic statistical analysis, correlation analysis, factor analysis, cluster analysis, and ANOVA were performed based on the survey results. Since the satisfaction level of the projects compared with the before-condition was 3.63 higher than 3.00, it could be concluded that there was an meaningful effect of visual improvement after completion of the projects. As the result of the factor analysis, landscape adjective pairs were categorized into two factors: harmony and aesthetics. Through the cluster analysis, four clusters were formed and characteristics of each cluster were identified. As the result of rhe cluster analysis, the cluster with the high harmony level and the aesthetics level showed the highest overall satisfaction level. Comparing each cluster, it could be concluded that the factor of harmony was more important than the factor of aesthetics in evaluating the satisfaction level of projects. Analyzing qualitative aspects of project groups, spatially well-balanced design with generous vegetation areas was more effective in landscape improvement than artistic design with visually strong installations. Further researches based on behavior studies of actual users are required to compensate the limits of this research. This research can contribute to establish the improved direction of policies to regenerate various types of small scale derelict spaces.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.4
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• pp.70-80
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• 2012

There isn't much of discussion about survey of traditional Korean garden with a perspective of Pungsu. Strictly speaking, it is difficult to list the names of gardens in which Pungsu theory is applied. But it is necessary to study in depth the Korean garden in mountain in relation with Pungsu. The reason is as follow; First, Pung-su and gardening both reflect man's responsive attitude and approach toward nature. Second, selecting a site for a garden requires aesthetic eyes to consider the harmony with the surrounding landscape and its compositions, where the perspective of Pungsu can play as an important component at work. Third, Pungsus complementary function justifies the correlation between Pungsu and Korean gardens. Gardens can be viewed as a solution to complement negative elements of Pungsu on site. This article tries to study the relationship between Pungsu and Korean garden in mountain in terms of Pungsu aesthetics. In Kosan Yoon Sun-Do's Buyong-dong garden, excavated perspectives of Pungsu aesthetics are fell into two categories; the spatial frame based on Pungsu topography and the dimension of enjoyment through visual angles between essential points. The former can be said as Pungsu topography as a mental image which was constructed by selected points and given Pungsu meanings; the latter is visual angles between those points by which make it possible to see and enjoy in comfortable sights. In such way making and enjoying Buyong-dong garden with full of Pungsu oriented meanings and aesthetics, Kosan Yoon Sun-Do enjoyed and sublimated his experience in nature into art.

• Journal of the Korean Institute of Landscape Architecture
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• v.23 no.2
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• pp.182-194
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• 1995

The major objective of this study was to develop recommendations for improving the design of pergola facilities located in neighborhood parks. The study employed the following methods : Physical measures and questionnaires. Physical treasures were taken of certain environmental attributes such as pergola sizes, structures, materials, etc. Questionnaires were randomly distributed to pergola users on the same day on which physical measures were scheduled. All data were collected in 1994 during the season of pergola use, September 3 to October 9. The major findings are as follows; 1. Of the 508 respondents to the question about use motivations, approximately 32% were a shady place, 18% seating arrangements suitable for conversation, 15% unconsciously, 13% a lack of bench in the park, 9% good view, and 13% other. 2. Regression analysis indicated that the best predictors of pergola user' satisfaction were : harmony with surroundings, accessibility, aesthetics of pergolas and benches, function of benches, and climbing plants. 3. Pergola design needs to be developed because pergola users were less satisfied with their pergola than with the park.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.2
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• pp.110-118
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• 2012

This study aimed to research theoretical reviews of streetscape and to analysis the correlation between visual properties and preference of streetscape in Bukchon around Gahoe-dong which is a dense Hanok area. Therefore we analyzed a relation between visual quantities and preference intended Samcheong-dong 35 street, Gahoe-dong 31 street and Gahoe-dong 11 street the representative streetscape in Bukchon. Also we extracted common factors of images of the streetscape in Bukchon and figured out a relation between the visual image evaluation and the preference by regression analysis. The result of the analysis is as follows. First, it was the streetscape of Gahoe-dong 31 street which get more scores than any other streetscape in preference. And we figured out that the higher the ceiling and the visual quantities of planting the more preference. Second, streetscape in Bukchon was explained by 'aesthetics', 'amenity' and 'orderliness' in psychological view. And there was noticeable difference in aesthetics aspect between Gahoe-dong 31 street the highest preferred place and the Samcheong-dong 35 street the lowest preferred place. Third, as a result of regression analysis on preference and factor scores about psychological variables, we figured out that the factor which explains aesthetics effects most on the preference.

• Journal of the Korean Institute of Landscape Architecture
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• v.19 no.2
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• pp.23-31
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• 1991

In this paper, based on the thought of the place, I tried to define the meaning of th place and interprete its landscape. The landscape of the mt. Toham with its Grotto-temple "Sokgulam" is the major object of it. The "matter and form" of the Sokgulam realizes the archetypal meaning of the grotto, birth or place of the birth, in a concrete picture. The aesthetics of the Sokgulam, the mater and form in the work of arts, comes out light harmonious with the elements: "grotto", the new foreign element of the architectural style and "orientation", the old domestic one of the Shilla that presented itself at the Chomsongdae, a kind of observatory. The interrelation of the old and new elements in work of the Sokgulam shows us also a thought as an opinion of the transference to say: the matter of the traditional subject, "grotto" and the form makes the abstract matter concretely in sight, by receiving the natural happening of the sunrise at the winter solstice.

• Journal of the Korean Institute of Landscape Architecture
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• v.24 no.2
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• pp.74-85
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• 1996

The objective of this study is to investigate the influence of viewing aspects based on formal aesthetics and psychophysica approaches of the MAISAN provincial park for landscape management. Two methods are applied in this study. First, according to the field study with map the quantitative analyses of the viewshed area, visual section and scenery types were achieved, herein the visual landscape characteristics is found. Second, based upon visual preference evaluation of the relationships between the viewing aspects and visual preference scores to landscape slides were measured by questionnaires. The main conclusions obtained by the research are as follows. Visual area of MAISAN has a quite wide viewshed though itself is surrounded. The preference for the visual terminal were change by its characteristics to the visual corridors, view points, viewing types and viewing distance. Especially, the regression analysis between visual preference and viewing distance indicated Y=-3.20X\sup 2\+18.64X+20.64. In this case, viewing distance 794m from O\sub p\ is more important point for visual experience. The viewing types B·C and famous view A obtained a high visual preference score. A visual terminus are viewed along an entire RouteA, so revealed by its evolving spatial containment as to exact the full potential of its changing perspectives. Also we conducted the degree of visual influence by the shade in visual area at MAISAN and clarified viewing vantage Route and point in LSH being necessary for landscape preservation.

• Journal of the Korean Institute of Landscape Architecture
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• v.29 no.4
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• pp.53-66
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• 2001

Modern art has had a great impact on the concepts and the formal attributes of modern landscape design. This study aimed at examining the origins of modern landscape design languages especially in relation to the influence of find art during the modernist age. The formal reductionism of Cubistic paintings finally lead to the formulation of Geometrical Abstractionism which became the basic formal model for ˝Regular Style˝; one of the representative modern landscape style. This Regular Style is mostly based on the formal structure of ´Grids´, which was developed by many landscape designer like Eckbo, Kley and Halprin. On the other hand, the ´Bio-morphic Form´ originally used in Surrealistic Art became the formal model for ˝Organic Style˝; the other representative modern landscape style, developed mostly by the landscape designers like Church, Burle-Mark and Bye. Thus, ´Grids´ and ´Bio-morphic Form´ became the dual icons of modern art and modern landscape design. Although these modern landscape design styles were ground breaking departure from the conventional formal/informal tradition and expanded possibilities in formal experimentations, They also produced several crucial limitations originated from the scientific reductionism and autonomous aesthetics of modern art, like the physical and cultural discontinuation from surrounding environments and the formal alienation from the real life world, which gave rise to the emergence of post-modern thinking of landscape design.

• Journal of the Korean Institute of Landscape Architecture
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• v.43 no.2
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• pp.105-113
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• 2015

The theory of landscape architecture applies environmental ethics in order to secure an ecological status. However, environmental ethics that focus on nature conservation excludes landscape architecture as artifacts. In the process, it is hard to identify what landscape architecture insists on as the middle position between humans and nature. Rather, landscape architecture pretends to be an 'agent of nature' and pushes the traditional moral values 'for people.' Therefore, the purpose of this study is to reestablish the anthropocentrism moral position of landscape architecture through critical analysis. Hargrove's weak anthropocentrism' of several environmental ethics branches accepts natural aesthetics(such as landscape architecture) as an ethical virtue. But environmental ethics makes landscape architecture a critical target. For that reason, this study looked into critical contents and objects that in a position to moral, aesthetic and landscape architecture. Critical details are as follows: First, nature is an absolute as an aesthetic and moral value, but landscape architecture is an imitation and takes a relaxed attitude about nature. Second, nature is full of aesthetic substance because it is self-creative, but landscape architecture is designed nature covered human flaws through imagination. Third, environmental management granting techniques in nature generate a moral nihilism. As an argument, environmental ethics overlooked the moral practices of landscape architecture beyond nature another moral aspect of creation and the imagination-and moral aspects of environmental management as 'care' because they rule out 'moral autonomy' and simplify what is considered 'good.' As a result, conservation cannot be the only virtue why the problem of nature in reality cannot be separated from human life. The moral position of landscape architecture based on a 'good life' is more appropriate under anthropocentrism than as a middle position.