• Journal of the Korean Institute of Landscape Architecture
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• v.24 no.2
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• pp.117-133
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• 1996

The etymological meaning of 'the Picturesque' is "after the manner of painters." It had begun to be used from the end of Classical era and become popular in Romantic era. The concept of the Picturesque in the Classical era is an allusion to the Classical paintings, history paintings or ideal landscapes. As the idea of these paintings was the Beautiful Nature, the most crucial of the Classical Picturesque were that a painting should represent some significant human action; that all the parts of this painting should contribute to the whole; that verbal commentaries were needed. The influence of the Picturesque on the garden design can be summarized as the invention of 'the Landscape Garden.' In the Landscape Garden, human action was central and formal and painterly techiniques were used to highlight human action. The subjectivization of concept of of the beauty resulted in the cult of the Picturesque. In the controversy by Price and Knight, the Picturesque and its influence on the garden design was contended variously. Price criticized the monotonous gardens of Brown's and named "roughness, sudden varitation and irregularity" as the three hallmarks of the Picturesque. Knight contended " that the Picturesque consisted only in a manner of viewing things with an eye and mind educated in the principles of painting" and "that gardens should reproduce as fully as possible the qualities that made the pictures of Rosa or Hobbema delightful."

• Journal of the Korean Institute of Landscape Architecture
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• v.32 no.6 s.107
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• pp.68-81
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• 2005

The styles of contemporary landscape design have diversified since the emergence of Postmodernism in landscape architecture. The diversification was mostly influenced by contemporary fine arts and architecture. This study examines the pluralistic development of Postmodern landscape design through the investigation of the influences from those sister arts. In this point of view, the main approaches of Postmodern landscape design are thought to be classified into three categories;'the formal abstract approach', 'the figurative approach' and 'the new picturesque approach'. The first category of the formal abstract approach was formulated with the concepts and vocabulary of Minimal Art and Installation Art. Its representative icons such as 'point grids' and 'stripes', and the main concepts such as the sense of 'flahess', 'expansion' and 'materiality' are mostly thought to be originated from these art forms. The second category of the figurative approach is characterised by the concepts and vocabulary of Pop Art and New Image Paintings. Its representative icons such as 'map' or 'figurative forms' and main concepts like the sense of 'reality', 'context' and 'symbolism' are mostly thought to be originated from these art forms. The third category of the new picturesque approach was formulated with the concepts and vocabulary of Land Art and Late Deconstructive Architecture. Its representative icons such as 'hybrid', 'layer' and 'fold', and the main concepts such as the sense of 'complexity', 'continuity' and 'reversibility' are thought to be originated from these art forms. The research shows that the main stream of contemporary landscape design seems to be gradually moving toward the second and third approach above, in step with the cultural orientation and the dynamism of contemporary urban life. Therefore, the study focused especially on the new picturesque approach which would be in greater need for coping with the hybrid culture today.

• Journal of the Architectural Institute of Korea Planning & Design
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• v.35 no.8
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• pp.81-88
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• 2019

Although small but eye-catching outdoor constructions are generally called follies in contemporary architecture, French landscape researchers found different features of the fabrique, which they called separately from the folly. Unlike the 18th-century English gardens, in which the landscape itself was emphasized more than decorative structures in it, French fabriques actively made the atmosphere of picturesque gardens. In this background, this paper, from the architectural point of view, studied the 18th-century garden theories in both Britain and France, which might influence the formation of the fabrique. Then, it tried to analyze the features of French major picturesque gardens and their fabriques, relating them to painting, drama, and culture. In conclusion, this study, focusing on the relationship between the garden and its fabriques or follies, compared the different features between the English landscape gardens and the French picturesque ones in the 18th century.

• Journal of the Korean Institute of Landscape Architecture
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• v.36 no.6
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• pp.115-125
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• 2009

The Picturesque Style of the $18{\sim}19th$ Century Romantic landscape gardening had features of both irregularity and variety. These features were applied to $19{\sim}20th$ Century urbanism, which was called 'Urban Picturesque'. Preceding research has found that pedestrians take more interest in streets modeled after 'Urban Picturesque' principles mainly focused on physical appearance. further development of this research was undertaken through an experiment focused on pedestrian activity as well as physical factors through a case study of the Duksugung-gil, Insadong-gil and Myoungdong-gil. The results of the research are as follows. Although the physical conditions of the street in Duksugung are fitted more on Urban Picturesque principles than the other two case studies, the degree of pedestrian interest was highest for the street in Insadong due to excellence both in physical appearance and the diversity of cultural activities available in it. In conclusion, it can be said that to achieve the fdl effect of a Picturesque urban scene, a diversity of place-appropriate activities related to socio-cultural programs should be combined with an excellent physical appearance.

• Journal of the Korean Institute of Landscape Architecture
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• v.36 no.5
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• pp.1-12
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• 2008

Since the late 20th century, post-modern society has needed new styles in environmental design. The land art begun during that time supplied the momentum for the birth of the hybrid environmental design. The new design approach, focusing on land form and landscaping begun with land-form architecture, raised a powerful current of hybridization in the environmental design genres. The new picturesque landscape design distinguished by manipulated land forms and sublimated aesthetics appeared under the influence of land art and land-form architecture. Similarly, landscape urbanism was formed by the fusion of landscape architecture and urbanism. Therefore, the representative hybrid styles in environmental design appear as new picturesque landscape design, land-form architecture and landscape urbanism. With the new, strong interest in land and landscape, this same new interest was given to 'time' on account of the dynamics and indeterminacy of urban society. This new interest in land and time gave rise to new hybrid methodologies for environmental design such as mapping, diagramming and folding. These three tools have been applied most comprehensively in landscape urbanism. The 'fold' is the most popular design tool for most of the hybrid genres. The 'diagram' is the second-most popular design tool mostly for landscape urbanism and land-form architecture. Mapping is being actively applied to landscape urbanism and passively applied in new picturesque landscape design. In general, landscape urbanism seems to be a timely and suitable alternative for contemporary urban society. It displays very high potentials in the regeneration of the locality through the comprehensive hybrid methodology. It is necessary to actively engage in and develop landscape urbanism fit the local needs.

• Journal of the Korean Institute of Landscape Architecture
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• v.25 no.3
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• pp.124-130
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• 1997

In some cases of the English landscape garden style in Germany, for example, Worlitz, Branitz etc., including Mu나며, I have found out invisible geometric figures, that must be on the basis of landscape gardening. Particularly the Muskau park. The church of the village "Gerg", outside of the park, and the "pucklerstein" are the bases of this diagram. Above all, I am convinced of my hypothesis of √2 diagram, while I can also understand, out of my analysis, the relations and descriptions of the park in the book of the gardner, Hermann Fust von Puckler-muskau, "Andeutungen uber Landscahaftsgartnerei". Finally, I wish to discuss, how to do the phenomena, 'picturesque motif and geometric figures of the English Landscape Garden.

• Korean Institute of Interior Design Journal
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• v.22 no.3
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• pp.81-90
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• 2013

There has been current trend running through each generation. All the leading areas in the fashion, art, architect industries etc. are absorbing the needs of the mass users and getting popular and high attentions from the society. One of recent trends are the interior design utilizing the aged style of materials such as bricks, antique and vintage objets. It is applied not only for the cafeteria, movie theater, museum but the cultural space. It reflects the brand-new and Utopian interpretation of design longings for the nostalgia and the old ages. This goes back to the picturesque aesthetics in the 1980s. The term "picturesque" means "picture-like". And it originated from the Utopian vision taken from the landscape paintings of English aristocrat's trip to Europe. it mainly reflects people's longing for the nostalgia and their the happy days in the past. In recent days of bad economies, it has been found in various areas from people's desire for the prosperity in the last days. The objective of this study is to examine the up-current trend of picturesque aesthetics and see its characteristics and how it can be applied to the interior design. And the feasibility study for the necessity of the picturesque aesthetics, any spatioperceptual elements and capable space for human beings to be made for an eclectic space in the desolate modern day life.

• 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 English Language & Literature
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• v.57 no.4
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• pp.553-580
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• 2011

This article addresses how the British Empire administered the discipline of space in nineteenth century Ireland. Space control is a part of modern disciplinary practices. I approach this issue in light of the two modern mapping of space: the geometric mapping of space and the Romantic mapping of space. The former, as seen in map-making, is characterized by imposing a standardized, stratified grid on space by eliminating local characteristics of nature. On the other hand, the latter, as shown in picturesque landscaping, aims to balance a close-up observation of nature and a far-sighted view of it, with the result of creating an ironic tension of local diversity and perspectival totality. These modern disciplinary projects of space repeat themselves in the British management of the colonized Irish territory. As the British conquer other lands, they put to good use both geometric and Romantic disciplinary methods of space. Supervising the Ordnance Survey of Ireland from 1824 to 1846, Thomas Frederick Colby, British Director of Ordnance Survey, made a mathematically strict and scientific mapping of Ireland as a scale of six inches to one mile. Parallelled to this geometric colonization of space, the Romantic colonization of space is efficiently used for the Empire's management of Ireland as well. British tourists and pro-unionist Anglo-Irish landed gentries transform it into the nature of picturesque beauty; Ireland's wild boglands turn aesthetically into desolate but beautiful scenery. Picturesque landscape in England is reborn as an aesthetics of desolation in Ireland.

• 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.