• Journal of the Korean Institute of Landscape Architecture
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• v.36 no.1
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• pp.90-102
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• 2008

This paper has aimed to determine how the Suwon Palkyong(水原八景: eight scenic wonders) were formed and the implicature of landscape, such as implicit intention and symbolic significance. For this, the significance and symbolic meaning of the Suwon Palkyong from the time of the 'Hwaseong Chunchu Palgyeong(華城春 秋入景)' have been investigated in order to determine the political and social arguments in Suwon Palkyong that surrounded the formation process and meaning. The 'Hwaseong Chunchu Palkyong' contains a variety of significant elements and factors of Pungmul(Korean drum & dance) as well as formative elements such as a castle. Plantings for beautiful scenery and water use for flood control have also been major elements in the development of Hwaseong. Therefore, it seems that the 'Hwaseong Chunchu Palkyong' is a catchphrase for the future image of the urban landscape. Most Suwon Palkyong sites such as Paldalsan, Namje, Yungneung, Manseokgeo, Chukmanje, Hwahongmun, and Yongji(a pond in Banghwa Suryujeong) are related to the 'Hwaseong Chunchu Palkyong'. 'Gwanggyo Jeokseol(光敎積雪: the landmark mountain, Mt. Gwanggyo with snow)' and 'Paldal Cheongnam(八達晴嵐: Mt. Paldal with shimmering air)' have also been added to Suwon Palkyong. Suwon Palkyong is either directly or indirectly related with water including the origin of Suwoncheon(水原川), an artificial reservoir for flood control and irrigation and Bibopungsu in Yungneung(隆陵), as well as the source of water for rituals after the death of King Jeongjo(正祖大王). Based on Suwon Palkyong, therefore, it can be said that water is a decisive medium in connecting old Suwon with Hwaseong New Town and essential element in the natural landscape. In conclusion, while Hwaseong is a 'Designed Landscape' that was created with a specific intention during the reign of King Jeongjo, the 'Hwaseong Chunchu Palkyong is a 'Desired Landscape' that envisioned a future landscape while Suwon Palkyong is an 'Evolved Landscape' related to the business affairs of the citizens. To completely restore Hwaseong, whose value and importance have been recognized internationally, therefore, the fundamental restoration of a cultural landscape as well as the restoration of the original form of the Hwaseong landscape including Suwon Palkyong is essential.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.39 no.4
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• pp.1-9
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• 2021

The purpose of this study was to determine the definition of traditional landscape and the appropriate English notation. To confirm the appropriate concept, the charter's relevant terminology was synthesised and the meaning of the vocabulary used in international studies was examined. ICOMOS The Charter on Historic Gardens(The Florebce Charter, 1981), ICOMOS-IFLA Document on Historic Urban Parks(New Delhi, 2017), and UNESCO Recommendation on The Historic Urban Landscape(Paris, 2011) were analysed to examine the concept, and the words describing definitions, space, objects, value, and activity were arranged. Big data was used to analyse the research literature related to overseas traditional landscapes. This study examined the characteristics of each word and examined the appropriate name for expressing the historic and cultural characteristics of landscape in research literature, which included traditional, historic, cultural, classical, vernacular, landscape-related gardens, parks, and landscape words related to historic culture. Consequently, the International Charter declared the suitability of 'historic' gardens and parks, as well as traditional landscape for expressing unique designs, composition technique, and ecological meaning of Korea, while historic landscape was deemed suitable for explaining gardens and parks in landscape history.

• Journal of Environmental Science International
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• v.24 no.8
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• pp.1055-1064
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• 2015

A historic urban landscape has to be preserved wholly, not only as a cultural heritage site, but also as an environment and a neighborhood. However, cultural heritage sites have their own unique social-commercial environments, and these are not easy to integrate during the preservation process even though they are located in the same area. To examine ways of overcoming the difficulty in integrating the preservation of heritages, this study analyzes the historic urban landscape preservation of St. Augustine, Florida in the United States. The preservation of St. Augustine's historic urban landscape can be identified by its unique system of government-academy cooperation. For integrated preservation of the historic landscape of St. Augustine, Florida's state government owns the properties, which are not designated but have a heritage value, and are located next to the nationally designated heritage sites. The properties receive trust administration by the University of Florida. This cooperation between the government and the university can benefit both stakeholders. To the government, the relationship gives the benefit for professional, long-term management for the properties and their environments. To the university, the cooperation provides a place for practical education, funding, and opportunities for research and management. The government-academy cooperation model argued for this study can be applied to many Korean historic cities' urban landscape preservation planning.

• Journal of the Korean Institute of Landscape Architecture
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• v.39 no.2
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• pp.73-90
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• 2011

The purpose of this research was to find out the characteristics of secluded cultural landscapes that were retained by Eyogye Cho Lyeo(漁溪 趙旅) as a recluse or a schola at the early time of Chosun dynasty through his poems, residential site and his successors' landscapes. The study sites were selected such as Wonbukgae(院北齋), Chamijeong(採薇亭), Gomaam (叩馬巖) and his graveyard. In order to do that, Wonbukgae, Chamijeong, Gomaam and his cemetery were selected as studying sites. Also researching methods were used by grasping the landscape elements through reading ancient books such as "Eyogyezip(漁溪集)", field-researching, analyzing characters of his secluded landscapes and interpreting his poem's meaning. This research found that: 1) After Danjong(端宗)'s dethronement, he returned to his home town and never come out to the world again. He wanted to keep fidelity to his king forever. 2) He was affected for his seclusion from many people who were Ryu Gyebun(柳桂芬), Bae Junghu(裵仲厚) as his classmates at Sunggyungwan(成均館). Also Won ho(元昊) and Kim Sisyub(金時習) as members of Sangyuksin(生六臣) affected him for sake of their seclusion. 3) The meaning of his seclusion expressed the notation of seclusion as a fisherman from his pen name as 'Yeogye'. Also this kind culture has very particular behavior such as concentration phenomenon of action, absolute eccentricity of seclusion, tourism of nature and deep knoledge of feng shui, strong persistence of seclusion and confucian practical attitude of filial behavior. 4) The secluded cultural landscape is divided to four regions. They have two types of landscape such as secluded cultural landscape of his lifetime and landscape transmission of his posterity and scholars. 5) The interpretation of his poems and their aesthetic analysis found two characters. His poems were expressed by landscape substance like plants, natural and man-made elements. Their theme was confucian, peaceful and faithful seclusion.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.40 no.2
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• pp.44-58
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• 2022

Bunhwangsa Temple, Baekryulsa Temple and Sambulsa Temple are not famous cultural heritage area, but they are visited by many tourists and are located in Gyeongju National Park and Gyeongju Historic Areas, so environmental and cultural preservations are required. The purpose of this study is to manage the unique environment and landscape of cultural assets by analysing the invasive alien plant of traditional temple of Gyeongju. The whole flora were summarized as 188 taxa including 73 families, 136 genera, 154 species, 3 subspecies, 11 varieties, 4 forms, 5 hybrids and 12 cultivars., and the landscape plants were 163 taxa and 38 taxa of the invasive alien plants. The 13 taxa of invasive alien plants were planted in three temples. The ecosystem disturbance species were 3 taxa including Rumex acetosella, Lactuca seriola and Symphyotrichum pilosum. Invasive alien plants have artificial causes such as landscape planting, but there are also those that are introduced naturally from outside. The parking lot of the temple is expected to be a major propagation path for invasive alien plants due to the large amount of interference and disturbance. Based on the results of this study, the management plans are suggested as follows. First, it is necessary to use native species suitable for the natural environment and traditional landscape of Korea for landscape planting of traditional temples, and development of planting guidelines centered on cultural properties is required. Second, it is necessary to refrain from planting invasive alien plants because traditional temples are located in an important environment and historically. Third, for the preservation of the temple environment, it is necessary to promptly remove the ecosystem disturbance species. Fourth, in order to express the landscape characteristics of traditional temples, a unique planting plan should be established in consideration of the location environment and historicity.

• Journal of the Korean association of regional geographers
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• v.17 no.3
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• pp.259-269
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• 2011

The meaning of fengshui was another cultural ecological environment in the pre-modern in Korea. Village residents made interrelations with village natural environment by the medium of the geomantic landscape. The functions of cultural ecology through the village fengshui are as follows: the spatial location, the population inflow, the regulation of the community's production or construction or land-use, the adjustment of the environmental carrying capacity, the environmental management, the forming of the collective environmental perception and attitude. Village fengshui is a cultural adaptation strategy to the local environment for the village residents. Fengshui can be evaluated as a traditional cultural ecological way and knowledge system for keeping sustainable village environment in East Asia.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.37 no.4
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• pp.1-10
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• 2019

The purpose of this study is to examine the design ＆ construction methods of the traditional landscape space of the past and the repair and maintenance of cultural heritages to maintain it today. To this end, the method of narrative description, process extraction and construction related to traditional landscaping were compared to each other based on the 『Imwongyeongjeji』 「Seomyongji」 and 'Standard Specification for Repairing Cultural Heritages'. The results are as follows; First, to analyze at the description methods of the 『Imwongyeongjeji』 「Seomyongji」 and 'Standard Specification for Repairing Cultural Heritages' and related processes in the field of traditional landscaping. 『Imwongyeongjeji』 「Seomyongji」 was an encyclopedia of the overall construction method of the living space, describing the location, effect, and advantages and disadvantages of each component and presenting quantitative figures to institutionalize the construction of traditional landscaping spaces. 'Standard Specification for Repairing Cultural Heritages' presented the entire process of repairing cultural heritages, and it is becoming a kind of guide for reference at the site. Among them, foundation construction, roof construction, landscape construction, and fence construction were drawn as items that could be applied to traditional landscaping areas. Second, the traditional landscape space construction method was divided into the processes of foundation construction, roof construction, landscaping construction, and fence construction. Foundation construction is a way of repeating the process of land-tramping. During the construction of the roof, the tile-roofed building was built on top of the rafters and roofed with tiles. And thatched roof was made to a number of rice straws bundles to cover the roof one after the other. Instead of tiles, the stone roof was made of thin and wide stones, and the wooden boards were used for the single roof and the bark roof were constructed with many layers of dried corrugations. Landscape construction mainly consists of the Paving technique through tramping rubble and the construction of terraced flower by planting stone, plants, and shrubs on the top. According to the building materials, the wall construction was derived from the earth-stacked earthen wall, stone walls using stone and clay, marble walls made of tile patterns, and the construction of a board wall using a wood board as a wall. Third, comparing the construction methods of the 『Imwongyeongjeji』 「Seomyongji」 and 'Standard Specification for Repairing Cultural Heritages', 『Imwongyeongjeji』 「Seomyongji」 focuses on standardizing the construction methods to create a new traditional space. There is a difference in the setting of the scope of the 『Imwongyeongjeji』 「Seomyongji」 and the construction because 'Standard Specification for Repairing Cultural Heritages' provides the overall construction procedure considering the diversity of the cultural heritages. In addition, the traditional landscape space used to be a residential space in the past, but today, the maintenance process of the already established facilities as designated cultural heritages has been carried out, and construction methods have been added to create viewing conditions. In terms of the succession of traditional knowledge, some similar methods were found in the repair of cultural assets today, and some cases were also confirmed in the reconstruction of traditional technologies such as application of some materials or mix, separation of added facilities and introduction of efficient construction methods.

• Journal of the Korean Institute of Landscape Architecture
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• v.25 no.3
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• pp.12-24
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• 1997

One argument of this study is that the policy to handle and landscape of cultural and historical property had to do with people's visual preferences. This study seeks to investigate people's visual preferences toward the landscape of cultural /historical property, specifically dealing with 'Namdaemun', which is the first class cultural property of Korea. People's visual preference was specifically examined into the four specific concepts : 'visual identity','harmony','beauty of the target property', and 'overall beauty'. Two objective variables, such as, 'distance' between the viewer and the cultural property, and 'height' of background buildings were considered possible predictors of the four visual preference variables. Photos of 'Namdaemun' were taken at three different directions and at three different distances. The photographed images of 'Namdaemun' were transferred ito the digitalized graphic images, where the height of background buildings was artificially changed and simulated. The simulated visual images were taken into the slides again. A total of 59 students of the Department of Landscape architecture at Seoul City University were sampled as subjects. A series of 17 slides were shown to the subjects four times. The subjects were asked to check their preference ratings concerning the four concepts on a 7-point Likert scale. The results found in this study were as follows : 1) In the results of ANOVA, it was clear that people visually preferred the view where the height of background buildings were lower than 15 floors to the view of more than 15 floors . 2) From the results of the path analysis, it was found that 'harmony','visual identity' and 'beauty of the target property' were direct predictors of 'the overall beauty'. The 'height ' of background buildings and the viewer's 'distance' were not found to be direct predictors, however, they demonstrated their effects on 'the overall beauty' through the other variable, which were direct predictors of 'the overall beauty'. In sum, the longer the distance and the higher the background buildings, the lower people's preference with the 'overall beauty'. These indirect paths, in turn, also explain why and how the 'height' of background buildings and the viewer's 'distance' negatively influence the 'overall beauty'. An implication from the these results is that when the height of background buildings were not controllable, there would be some other strategies for improving people's visual preference toward the historical /cultural view. To increase 'visual identity' of the cultural property, for example, changing colors of the cultural property or increasing the lighting level, etc., would be one strategy, since the increased 'visual identity' will, in turn, increase 'the overall beauty'.

• Journal of the Korean Institute of Landscape Architecture
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• v.31 no.4
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• pp.39-48
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• 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
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• v.23 no.1
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• pp.7-22
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• 1995

Philosophers Of aeBthetics have tended to limit their Suhject to include only objects Of art. In contrast to art objects, landscapes include elements of both art and nature, and the aesthetic experiences of landscape are ordinarty ones. Thus, the theoretical alternatives, that cannot be like the traditional aesthetic dogma of art, must be explored. Jay Appleton's theory is the firsts attempt to develop a comprehensive theory of landscape aesthetics. He concentrates on the question 'what do we like about landscape and why do we like it ' He takes the assumption that the aesthetic experience of landscape is pleasurable or satisfying, and suggests the biologically oriented theory, called 'prospect-refuge theory.'Although his theory is stimulating and highly speculative, it depends on the 'aesthetic attitude' theory of Kantian thought. His theory can be criticized for its biologically deterministic nature and its reductionism To respond to Appleton's shortcomings, that is, to resolve the conflict between biological and cultural explanations of aesthetic experience of landscape, Steven Bourassa tries to combine biological, cultural, and personal modes in a comprehensive paradigm for research in landscape aesthetics. This tripartite paradigm seems to promise to be meaningful if helping to pose important questions as well as in. avoiding conceptual errors about aesthetic domain of landscape. However, Bourassa's theory fails to integrate such three separate kinds of moder In the final analysis both Appleton and Bourassa present same succeases in expanding the scope of aesthetics to embrace landscape. Most important for a theory in landscape aesthetics must be its ability to enlarge our awareness of the aesthetic domain and its sound logic and evidence to criticize our problematic beliefs about he aesthetic idea of landscape.