• Journal of the Korean Institute of Landscape Architecture
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• v.24 no.2
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• pp.25-42
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• 1996

During the last two and a half decades, philosophical interest in the aesthetics of nature and environment has been gained momentum. One of the most coherent theories in this arena of debate has been developed over a series of articles by Allen Carlson. The purpose of this paper is to examine Carlson's theory critically and suggest an alternative aspect that remains untouched by his model. Briefly stated, Carlson's view of the appreciation of nature is that it is a matter of under standing nature under suitable scientific categories. His argument, based on the objectivist epistemology, is basically a disjunctive syllogism : a) The concept of appreciation, derived from traditional disinterestedness and Stolnitz's aesthetic attitude, provides an insight into the explanation of aesthetic appreciation of nature, and is objectivistic in the light of its object-oriented character. b) Nature must be appreciated as nature itself, and the natural environmental model is the appropriate loci of our nature appreciation. c) The paradigmatic form of our nature appreciation is order appreciation. d) There can be a correct and objective aesthetic judgment of nature, and the sources of guiding categories pertinent to it is natural science and natural history. In regarding nature as an environment and as natural, his natural environmental model is meaningful. Nevertheless, his stance results in some serious problems : a) The natural environmental model excludes certain very common appreciative responses to nature-responses of a less intellective, more visceral sort. Therefore, the arousal model with appropriate emotions might be one of our characteristic forms of nature appreciation. b) Even if we consider the scientific knowledge as an objective source of our nature appreciation, this gives rise to the question of whether the natural science can be objective or not. Is there an objectivist aesthetic appreciation of nature\ Does aesthetic appreciation of nature need to be science-based\

• Journal of the Korean Society of Environmental Restoration Technology
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• v.24 no.4
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• pp.61-75
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• 2021

Roadside greenery in the city is not only a means of reducing fine dust, but also an indispensable element of the city in various aspects such as improvement of urban thermal environment, noise reduction, ecosystem connectivity, and aesthetics. However, in studies dealing with the effect of reducing fine dust through trees in existing urban spaces, microscopic aspects such as the adsorption effect of plants were dealt with, structural changes such as the width of urban buildings and streets, and the presence or absence of trees, Impact studies that reflect the actual form of In this study, the effect of greenery composition applicable to urban space on PM2.5 was simulated through the microclimate epidemiologic model ENVI-met, and field measurements were performed in parallel to verify the results. In addition, by analyzing the results of fine dust background concentration, wind speed, and leaf area index, the sensitivity to major influencing variables was tested. As a result of the study, it was confirmed that the fine dust reduction effect was the highest in the case with a high planting amount, and the reduction effect was the greatest at a low background concentration. Based on this, the cost of planting street green areas and the effect of reducing PM2.5 were compared. The results of this study can contribute as a basis for considering the effect of pedestrian space on air quality when planning and designing street green spaces.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.3
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• pp.88-99
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• 2018

After UNESCO appointed Royal Tombs of the Joseon Dynasty to be World Cultural Heritages(2009), Cultural Heritage Administration in Korea established Management Office of Royal Tombs of the Joseon Dynasty(2012) and conducted Mid to Long-Term Plan on Conservation, Management, Utilization of World Heritage 'Royal Tombs of the Joseon Dynasty(2015)'. The report, as an implementation plan, provides detailed contents of the maintenance planning of Royal Tombs of the Joseon Dynasty. From this background, with a view to comprehending the characteristics of the maintenance planning of trees in historical landscape forests, this study extracted the contents related to the historical landscape forests of the 40 Royal Tombs of the Joseon Dynasty from the "Mid to Long-term Plan" and conducted literature research. The results of the study are as follows. First, from 2016, the short-term plans have provided detailed contents on logging, transplanting and planting trees in the plans divided by stages. On the other hand, the long-term plans, instead of presenting abstract contents repeatedly for each royal tomb, should seek vegetation landscape that each royal tomb should aim for. Second, since the areas that are in charge of the various functions of the royal tombs have been subjects to the maintenance planning, it is effective to establish a maintenance planning by separating functional areas instead of the comprehensive concept as historical landscape forests. Third, the maintenance planning of trees in historical landscape forest of the Royal Tombs of Joseon Dynasty is based on daily management such as density control and maintaining the shape of trees, which is necessary to sustain the forest. Also, due to the goal of preserving the pine forest, which is recognized as a prototype vegetation landscape, foreign species and other trees have been more cut down. With a few limited types of tall tree but few shrubs and flowers, it is characterized that the orientation toward aesthetic landscapes is insufficient in large green spaces. Fourth, according to the function of the tomb, it is divided into entrance area, ceremonial area, burial area and outer forest, and the contents of the maintenance planning are analyzed by basic conditions of tree management: prototype, ecology, functionality, and aesthetics. After studying the tree management characteristics of each area, four suggestions are made: understanding the diversity of trees that form prototype landscape as a management plan, sustainability of various forests adapted to ecological environment, convenience required in addition to ceremony and safety characterizing the Royal Tombs of Joseon Dynasty, and the necessity of access to aesthetic landscape on the tombs.

• Journal of the Korean Institute of Landscape Architecture
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• v.49 no.5
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• pp.125-137
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• 2021

How can we explain the phenomenon of small, old alleyways in the city becoming rising commercial places attracting people from an aesthetic perspective? This research discusses distinctive aesthetic experiences of urban commercial alleyways, which are located on inner roads and consist of small-scale stores and explore the specific aspects of Sharosu-gil, located in Gwanak-gu, Seoul. The aesthetic experience of urban commercial alleyways is generated by the contrast with the refined urban fabric along main roads in terms of space, the gap between the old and the new, and the antagonism between the known and the less known. The approach to Sharosu-gil consists of the high-rise buildings along the main road built in the 2000s, then encountering low-rise buildings on inside roads built from the late 1970s to the present. Therefore, it is judged that the site has sufficient conditions to generate the aesthetic experience as an urban commercial alleyway. As a result of analyzing the street improvement projects, first, the official announcement of the name 'Sharosu-gil' was interpreted as an escape from the place specificity and garnered the acquisition of the characteristics of an alternative. Secondly, the improvement project for old-established signboards was interpreted as harmony between the new and the old and the loss of temporality. Thirdly, in the pedestrian priority road project, the pavement was interpreted as a reinforcement of the identity as an alleyway and the visualization of the area. Since the reality of urban commercial alleyways depends on the user's visiting, it is necessary to interpret alleyways from the perspective of the senses and aesthetics, not just from social phenomena or capital logic perspective. The study will cast implications for relevant schemes and data-driven research.

• Korean Journal of Heritage: History & Science
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• v.49 no.2
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• pp.86-103
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• 2016

'Sukchunjeahdo' illustration-book, which was left by Han, Pil-gyo(韓弼敎 : 1807~1878)in the late Joseon Dynasty, includes pictorial record paintings containing government offices, Eupchi, and Feng Shui condition drawn by Gyehwa(界畵) method Sabangjeondomyobeop(四方顚倒描法) and is the rare historical material that help to understand spatial structure and landscape characteristics. Youngyuhyun(永柔縣) and Sincheongun(信川郡) town, the case sites of this study, show Feng Shui foundation structure and placement rules of government offices in the Joseon Period are applied such as 3Dan 1Myo(三壇一廟 : Sajikdan, Yeodan, Seonghwangdan, Hyanggyo), 3Mun 3Jo(三門三朝 : Oeah, Dongheon, Naeah) and Jeonjohuchim(前朝後寢) etc. by setting the upper and lower hierarchy of the north south central axis. The circulation system is the pattern that roads are segmented around the marketplace of the entrance of the town and the structure is that heading to the north along the internal way leads to the government office and going out to the main street leads to the major city. Baesanimsu(背山臨水 : Mountain in backward and water in front) foundation, back hill pine forest, intentionally created low mountains and town forest etc. showed landscape aesthetics well suited for the environmental comfort condition such as microclimate control, natural disaster prevention, psychological stability reflecting color constancy principle etc. and tower pavilions were built throughout the scenic spot, reflecting life philosophy and thoughts of contemporaries such as physical and mental discipline, satisfied at the reality of poverty, returning to nature etc. For government office landscape, shielding and buffer planting, landscape planting etc. were considered around Gaeksa(客舍), Dongheon(東軒), Naeah(內衙) backyard and deciduous tree s and flowering trees were cultivated as main species and in case of Gaeksa, tiled pavilions and pavilions topped with poke weed in tetragonal pond were introduced to Dongheon and Naeah and separate pavilions were built for the purpose of physical and mental discipline and military training such as archery. Back hill pine tree forest formed back landscape and zelkova, pear trees, willow trees, old pine trees, lotus, flowering trees etc. were cultivated as gardening trees and Feng-Shui forest with willow trees as its main species was created for landscape and practical purposes. On the other hand, various cultural landscape elements etc. were introduced such as pavilions, pond serving as fire protection water(square and circle), stone pagoda and stone Buddha, fountains and wells, monument houses, flagpoles etc. In case of Sincheongun town forest(邑藪), Manhagwan(挽河觀), Moonmujeong(文武井), Sangjangdae(上場岱) and Hajangdae(下場岱) Market place, Josanshup<(造山藪 : Dongseojanglim(東西長林)>, Namcheon(南川) etc. were combined and community cultural park with the nature of modern urban park was operated. In this context, government office landscape shows the garden management aspect where square pond and pavilions, flowering trees are harmonized around side pavilion and backyard. Also, environmental design technique not biased to aesthetics and ideological moral philosophy and comprehensively considering functionality (shielding and fire prevention, microclimate control, etc.) and environmental soundness etc. is working.

• Journal of the Korean Institute of Landscape Architecture
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• v.37 no.1
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• pp.110-119
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• 2009

Sosang Pal-Kyung(瀟湘八景), which originated in China and means eight scenes of So River and Sang River, greatly influenced the poems and the pictures in East Asia for a long time and became a cultural phenomenon leading the stereotype of the traditional landscapes in Korea and Japan. Studies on 'Kyung(a scene)' such as 'Pal-Kyung(八景)', have been made continuously until now, but there are no results of a study intensively focusing on the meaning and the form of Sosang Pal-Kyung, which is the origin of the domestic Pal-Kyung culture. The goal of this study is to investigate the typical form observed in Sosang Pal-Kyung-Ga(瀟湘八景歌) and Sosang Pal-Kyung-Do(瀟湘八景圖), as a text of a cultural landscape, and to clear up the coherence structure between a recognition system and a way of thinking that existed in the cultural phenomenon of Sosang Pal-Kyung. In this study, the symbolism of Pal(八) was summarized and the surface structure and the correlation of each Kyung of Sosang Pal-Kyung was explained in light of semiotics through segmenting and disjointing the lexeme of a landscape while the coherence structure and the meaning of Sosang Pal-Kyung-Ga and Sosang Pal-Kyung-Do as a text were investigated. Sosang Pal-Kyung is based on the view of the Sun and the Moon(or Positive and Negative) and the Eight Trigrams(八卦) for divination and is a linguistic symbol in which human life and the principle of circulation and conversion of nature are expressed as characters and picture texts. Its structure has strong coherence and cohesion, which attempt to move the abstruse truth of nature into human consciousness by developing and corresponding the grammatical structure and form of the sentences and the implicative languages emphasizing the symbolism of the words to the characteristics of similarities and contrast. In addition, Sosang Pal-Kyung expresses human life, the processes of birth and death of nature and the mutual response dialectically by putting various factors of the landscape in the frame of regular formality and structure. It is considered that the image signs in Sosang Pal-Kyung emphasize the theory of circulation of human life and nature are narrative scenery, which one looks at with a contemplative view in the circulation system of the time and the season. The cultural phenomena of Sosang Pal-Kyung in the Joseon Dynasty, which had been handed down from the Goryeo Dynasty, had become the driving force of leading aesthetics of Joseon's art and literature by adding the scenery of the point of view of Sung Confucianism. Its coherence structure was changed, but its cohesion was handed down continuously so that it became not only the basic text of the traditional and cultural landscape but also, the typical Korean-style stereotype of a landscape.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.3
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• pp.58-68
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• 2014

Christian Cay Lorenz Hirschfeld is often regarded as 'a father of landscape garden art.' He was an aesthetics professor and garden theoretician in the $18^{th}$ century. He put forth the most comprehensive garden theory book in five volumes between 1779 and 1785. His book, Theorie der Gartenkunst, was translated and widely circulated in his contemporary. The book, which dealt with diverse aspects of garden art such as history, design, material, and type, urged to promote the prevalence of landscape garden in European continents as well as in Germany. However, there have scarcely been discourses in the Hirschfeld's garden theory. This essay aims to review Hirschfeld's garden thoughts in his book critically and to reinterpret some issues in the contemporary landscape theory and practice. Hirschfeldian theory was the product of $18^{th}$ century German Enlightenment and romanticism. At that time, Nature was regarded as divine realm. There was a German affinity with natural world. The spread of reading culture and the fashion of travel literature were another background of the success of his garden literature. Several issues in Hirschfeld garden theory will discussed here. First, privileging garden art was the most significant contribution in his theory. He emphasized that garden art was the most advanced art form among all art genres. Second, garden art was grounded on the mimesis of nature. The ambiguous relationship between nature and art still existed in garden making. However, garden art can be flourished when utilizing the potency of nature in itself. Third, there was the association between the image and the idea in experiencing the garden. Some garden scenes stimulated the related emotional responses such as cheerful and merry, softly melancholic, romantic, solemn etc. Fourth, the movement was the essential aspect of garden art. Motion and emotion are come together in garden experience. To represent the landscape garden style in suitable way, the sketch or image seems to be preferable than the plans and views. Finally, garden art was composing of not only the physical space but also the spirit of place. He maintained the garden art as hortus moralis should be a social metaphor. Hirschfeldian garden theory has often been criticized as the lack of practical power and the old fashioned idea. However, his theory influenced on formulating the idea of public park in $19^{th}$ century. Moreover, there are still some visionary aspects of his theory such as the reevaluation of garden art, the emphasis of locality and the introduction of Mittelweg idea. Recently, gardening culture are prevalent in various realms of art and life. Hirschfeld's garden theory as humanistic landscape theory can provide us some insights in the contemporary practices.

• Journal of the Korean Institute of Landscape Architecture
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• v.46 no.5
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• pp.22-35
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• 2018

The purpose of this study is to understand the idea of the ideal garden, pursued by Dasan, by analyzing the production process of his writing and the location of his dwelling, and the characteristics of the garden in the writings of Dasan (茶山) Jeong Yag-Yong (丁若鏞)'s "Jaehwangsangyuincheop (題黃裳幽人帖)" is concerned with his writings on an imaginary garden (意園). This paper assumed that "Jaehwangsangyuincheop" served as a blueprint for his ideal dwelling. The main research subjects are the external scenes described in the "Jaehwangsangyuincheop", and the garden elements and spatial construction that were visualized as a Korean Ink Painting (水墨畵) through the analysis of related works. The results are as follows. First, Hwang Sang was Dasan's favorite pupil, and "Jaehwangsangyuincheop" was written by Dasan while at Boeunsanbang in the winter of 1805 as an answer to a question that Hwang Sang posed about the residence of a hermit. By referring to this response, Hwang Sang established Ilsoksanbang (一粟山房) under Mt. Cheongae in Daegu-myeon, Gangjin. Secondly, the residence in "Jaehwangsangyuincheop" has mountains behind it and water in front of it (背山臨水). The residence was used as a place to combine life and leisure. It was an ideal residence that secluded the scholar(隱士). Thirdly, Dasan's ideal garden was shown as operation of natural geography in a residential location, practically using various plant materials, expanding physical boundaries of garden, pursuing synesthetic aesthetics while enjoying garden elements, and having an active experience of the taste for the arts in the extended garden. "Jaehwangsangyuincheop" depicted the life of a scholar with the taste of elegance (雅趣), who live in reclusiveness (隱逸), which was wanted by Dasan after exile. It was realized as Ilsoksanbang. "Jaehwangsangyuincheop" was interpreted as the ideal of a feasible dwelling that faithfully reflects Dasan's conceptual thoughts on the garden.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.2
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• pp.46-53
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• 2018

The background of this study was to consider regenerative environmental characteristics and develop foundations for conceptual grounds and applications in embodying sustainable garden designs demanded in our age. In doing so, this study aimed to have a conceptual understanding of Clement's garden theory influenced by Robinson's naturalistic distinction and compared it with Robinson's wild garden, and the results are as follows: First, for Clement, garden design included an ecological process to settle in the target site as aesthetics of space being formed by the movement of plants. In this sense, making a 'garden in motion' implies to design possibilities to adapt to nature based on trust in it and allow plant seeds not to be planned but to naturally go and find appropriate habitats. Second, the views to wildness can be separated into microscopic and macroscopic views and each has its own expressive characteristics. Robinson's gardens are small and subordinate and play mollification functions for existing spaces. On the contrary, Clement's gardens are the subject of the space, represent macroscopic strategies, and have top-down approaches embodied as infrastructure to play central roles in the ecology. Third, Robinson's and Clement's views to the operation of garden spaces acknowledge the inseparable relationship between nature's autonomy and gardens' wildness and deliver a value that the preservation of nature is a prerequisite to coexistence with the life we desire. Their gardens are analogized by interventions of environmental possibilism and ecological standpoints mediated by plants based on the perspective of environmental determinism.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.37 no.4
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• pp.73-80
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• 2019

This is an empirical study to investigate the types of plants used in Gertrude Jekyll's wild gardens, identify relationships between plants, and analyze the planting patterns. Four sites were chosen for the study: the Cotswold Cottage, the Dryton Wood, the Little Aston, and the Frant Court. To find direct relationships between plants from the planting patterns shown in these gardens, the social network analysis program R was used to analyze degree centrality, which resulted in the identification of top three plants, followed by looking into their characteristics and meanings. The summary of the results is: Azaleas(Rhododendron spp.) showed the highest degree centrality, followed by wild roses (Rosa spp.). Cold-resistant crossbreed azaleas were used as underplanting connected to many different plants, creating the feeling of an atypical woodland garden. As an indigene, wild roses showed high degree centrality in terms of ecology and aesthetics, forming multiple layer planting. Also, plants with small white flowers, for example rowans(Sorbus commixta), shadbush(Amelanchier asiatica), sealwort(Polygonatum odoratum), and American columbines(Aquilegia vulgaris) were planted in these wild gardens as plant colonies to make natural connections with other plants through drifts.