• Journal of the Korean Institute of Landscape Architecture
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• v.44 no.2
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• pp.108-121
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• 2016

The purpose of this study is to explore the issues and implications for landscape design education in Korean landscape architecture by analyzing the National Exhibition of Korean Landscape Architecture(NEKLA). This study analyzed the suggested topics and selected site as well as the commentary that appeared in the NEKLA's award-winning book published from 2004 to 2014. Results of the study are as follows: First, topics of NEKLA are not only competition guidelines but related to exploring new area and role of Korean landscape architecture. Second, most dealing with site is 'industrial heritage and regeneration space' and 'green infrastructure'. In more recent years, a larger variety of sites were addressed. Third, site locations are concentrated in metropolitan areas, and awards and participation of the non-metropolitan universities was very low. Fourth, seven criteria can be applied in a general landscape design competition such as 'newness of the concept(idea)', 'logicality of the design process', 'selection of site fidelity of analysis(interpretation)', 'presentation and completion of the master plan', 'consistency with the theme', 'linkage of concepts and results' and 'feasibility'. The evaluation criteria are increasing the sophistication of the design language to provide useful suggestions on how to find design education methods. Its implications are as follows: First, training is essential to derive innovative ideas, but it should avoid excessive concept-oriented education. Second, design education may include instruction on how to define the problems related with the site. Third, more emphasis on design logic is essential to transform the innovative concept to actual results. Fourth, 'slick images' unrelated to design should be suppressed. Fifth, practice is needed to solve the topics addressed in the design process of education. Sixth, 'feasibility' and 'creative thinking' are necessary to recognize a reciprocal relationship that is helpful to one another. This study uses direct quote commentary to minimize the subjectivity of the researcher and to trace issues of the contemporary landscape architecture more directly and vividly. This study is a record waiting for another review as meta-criticism. In this regard this study, the landscape architect of the next times will have a mean that historical records to review the current thinking of the landscape theory and design.

• Journal of Science of Art and Design
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• v.11
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• pp.201-220
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• 2007

From two viewpoints the writer investigated the beauty of space by overall arrangement and composition of a picture in Oriental painting. In particular, she examined the expanded representation and significance of space use which had not properly been recognized in the field of a colored picture contrary to a painting in India ink. She studied that the boundary for the representation and appreciation of space was unlimited to one field of painting by studying and analyzing it in connection with other fields of art which had something in common with it in techniques or languages of representation. The writer considered the aspects of similar forms and spirits as the methods of understanding and representing the essence of an object in creating a work. She generally considered the aspect of perfecting knowledge by studying the principle of an actual thing for the representation of revealed forms corresponding to the aspect of similar forms, and tried to reach the stage of 'materialization' united with the spirit of the subject of creation for the formless forms corresponding to the aspect of representing an artist's inner world as well as the external shapes of things. She tried to reach the stage of spiritual cultivation in pursuit of the boundary between 'mental vanity' and 'sitting quietly and attaining the state of perfect selflessness', which were presented by Chuang-tzu, to express the spirituality internal to it. She recognized that the projection of the cultivation on a work could convey internal essence as well as external forms to a picture. It was because the image of the form represented in a picture was based on the aesthetic experience got from realty. In the concept of space and a method of representing it, she explored and analyzed the basic concept of space, arranged the concept of space shown in Oriental ideas dividing it into the concepts of space in Confucianism, Taoism and the Zen sect. What she felt acutely through this study was that she should establish the identity of her work by succeeding to, changing and re-creating tradition based on the historical heritage left by successive excellent painters and theorists. Putting together all these things showed that establishing the identity in the world of work pursued and oriented by her required searching the direction in future works by mixing tradition with modern times in a creative way, which is just the purpose of study in this thesis.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.3
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• pp.149-159
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• 2018

The study is aimed at establishing basic data to identify the original forms of the garden in Unbo's House. Through interviews and related data comparison analysis the ideas and major events of the person involved in establishing a garden in Unbo's House. Also, derived the direct and indirect effects of these people on gardening. The results are as follows: First, Those directly related to garden in Unbo's House are representative figures of cultural heritage and traditional art in Korea. Based on their expertise and abundant experience in traditional spaces, they contributed greatly to the creation of Unbo's House as a traditional space. Unbo Kim, Gi-Chang who directly influenced Unbo's House gardening, which affected the site selection, location, and the installation of major garden plant plants and traditional landscaping facilities. Hyegok Choi, Soon-Woo recommended Wabon Kim, Dong-Hyun at the request of Kim Ki-Chang and was involved in the overall plan. Housing design, space design and design of major facilities such as pond were confirmed Wabon Kim Dong-Hyun. Second, Kim, Gi-Chang's wife Jeong, Rae-Hyun, who motived to construct a garden. Nosan Lee, Eun-Sang and Korean artist Lee, Seok-Ho were created a signboard and board of the Pillar to encourage simple life in paintings. The themes of the article motived image as creative. In addition, Kim, Hyeong-Sik and Kim, Wan who son of Unbo, has been with Unbo for a long time, watching and influencing garden changes in Unbo's House. Third, The main factors that influenced the garden by character are as follows. Unbo Kim, Ki-Chang had a thorough record-setting spirit and his longing for his mother and wife affected the selection of the site and setting the direction of the garden. His art world with the symbolic emphasis of traditional landscapes, including traditional facilities, and especially plant materials. Choi, Sun-Woo reflected his traditional consciousness and experience in the construction of Unbo's House. Kim, Dong-Hyun applied the basic framework of a traditional building based on Yeonkyongdang hall in Changdeokgung palace. He also reflected on the traditional landscaping design the facilities of ponds acquired through excavation of Donggung Palace and Wolji Pond, Gyeongju. Nosan Lee, Eun-Sang and Lee, Seok-Ho completed their unique place in Unbo's House. Kim, Hyung-Sik was involved in the process of changing, while Kim Wan ran the Unbo's House which he inherited from Kim, Ki-Chang.