• Journal of the Korean Institute of Landscape Architecture
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• v.44 no.2
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• pp.37-51
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• 2016

Modern optical mechanisms slanted toward Ocular-centrism have neglected diverse functions of vision, judged objects in abstract and binary perspectives, and organized spaces accordingly, there by neglecting the function of eyes groping objects. Recently, various experiences have been induced through communication with other senses by the complex perception beyond the binary perception system of vision. Haptic perception is dynamic vision that induces accompanying bodily experiences through interaction among the various senses; it recognizes the characteristics of material properties and various sensitive stimulations of human beings. This study elaborates on the major features of haptic perception by examining the theoretical background of this concept, which stimulates the active experience of the subject and determines how characteristics of haptic perception are displayed in picturesque gardens. In order to identify the major features of haptic perception, this study examines how Adolf Hildebrand's theory of vision is developed, expanded, and reinterpreted by Alois Riegl, Wilhelm Worringer, Walter Benjamin, Maurice Merleau Ponty, and Gilles Deleuze in the histories of philosophy and aesthetics. Based thereon, the core differences in haptic perception models and visual perception models are analyzed, and the features of haptic perception are identified. Then, classical gardens are set for visual perception and picturesque gardens are set for haptic perception so that the features from haptic perception identified previously are projected onto the picturesque gardens. The research results drawn from this study regarding features of haptic perception presented in picturesque gardens are as follows. The core differences of haptic perception in contrast to visual perception can be summarized as ambiguity and obscureness of boundaries, generation of dynamic perspectives, induction of motility by indefinite circulation, and strangeness and sublime beauty by the impossibility of perception. In picturesque gardens, the ambiguity and obscureness of boundaries are presented in the irregularity and asymmetric elements of planes and the rejection of a single view, and the generation of dynamic perspectives results from the adoption of narrative structure and overlapping of spaces through the creation of complete views, medium range views, and distant views, which the existing gardens lack. Thus, the scene composition technique is reproduced. The induction of motility by indefinite circulation is created by branching circulation, and strangeness and sublime beauty are presented through the use of various elements and the adoption of 'roughness', 'irregularity', and 'ruins' in the gardens.

• Journal of the Korean Institute of Landscape Architecture
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• v.34 no.1 s.114
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• pp.48-58
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• 2006

The increasing complexity of design disciplines expects new theoretical contribution to re-examine the territory of their own practice. The ambition of this paper is to theorize the possibilities of trans-disciplinary landscape architecture with the following three perspectives. First, it traces the canonical influence of Picturesque aesthetics as an agency to confirm the trans-disciplinary work at around-Olmsted period. Second, it investigates the evolving role of collaboration in contemporary Dutch landscape architectural context with the comparison to American modernist approaches to legitimate the trans-disciplinary mechanism. Third, it articulates three series of 'The-Idea-of-Nature' and the trans-disciplinary productions derived from each idea within a theoretical terrain of landscape architecture. And eventually, the author proposes 'multiplicity' of nature, replacing conventional concept of singular nature, to mobilize the location of this discipline and to project the possibility of new core ground beyond the existing theoretical gravity.

• Journal of Korean Society of Forest Science
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• v.37 no.1
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• pp.57-60
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• 1978

Significant findings concerning the cause of the gardening revolution of the eighteenth century in England, its landscape style and contribution to a new style are concluded as follows: 1. The English landscape garden is regarded as a great revolution in the history of landscape architecture, and it was in the eighteenth century, in England, that garden and landscape first came together. 2. For at no time in history has there been such general interest in gardens and in the total physical landscape, so much writing and criticism and open debate. 3. Garden design did not become a definite art form in England until the eighteenth century. During the period it can be seen that there were developing three distinct types of garden, that is, the picturesque garden, the 'poetic' garden and 'abstract' garden. 4. Also developing was a new appreciation for natural forms and natural landscape, expressed in painting, poetry and garden design, and the landscape gardeners tried bard to malce country scenery look as though man had not had a hand in it. Eventually these open spaces contributed to a new type of spatial form development of naturalistic landscape style which is today taken for granted as a normal component of the landscape architect's palette.

• Journal of the Korean Institute of Landscape Architecture
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• v.26 no.2
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• pp.181-193
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• 1998

Land art has always ben considered as a similar but distinctly separate field from landscape architecture. Landscape architechs look to land art for inspiration and new concepts, but has always hesitated to define their field as an "art." But as more and more design projects for social spaces are being commissioned to artists, especially land artists, the distinction between the two fields are starting to blur. "Art or Social service\ulcorner" has been a question that has been asked in the field of landscape architecture throughout the 20 th century. By reviewing the concepts behind various land art projects, this paper seeks to undermine several misconceptions that has prevented landscape architects from wholeheartedly embracing land art as a expansion of their own field. Land art, as a new form of sculpture, sought to create art forms that were not looked at but experienced from the inside. Land art challenges the principle of the picturesque and the pictorialized view of nature. Land art was influenced by a new interest in prehistoric art, and sought to reestablish communication between the artist and the public. Also, land artists acknowledge the social responsibilities of art and presents the concept of art as a community activity. As can be seen by the concepts behind the works of land artists, the dichtomy of the artistic and social aspects of landscape architecture can be reconciled, and land art can serve as a model for a expanded field of landscape architecture.dscape architecture.

• Journal of the Korean Institute of Landscape Architecture
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• v.16 no.2
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• pp.59-68
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• 1988

The relative difference between Korean rural region and urban region has increased by the rapid urbanization and industrialization since 1960. Therefore it will be important to raise the income of the people living in rural region. So the Korean government established the collective side job area and rural industrial area for the increasing of the non-agricultural income. For this, the touristic resources development is also the another important means of the rural region development. So the purpose of this thesis exists in the presentation of the direction of the touristic resources development in rural region. For this purpose, three representative regions among the Korean rural regions were selected and the case study was accomplished. In this way the rough direction of the touristic resources development in rural region has presented The direction of the development and the conclusion were as follows : 1)Planners must establish the planning with the vision and demand of future than percent condition. 2)Because the urbanization is continued incessantly, the rural region is developed to be the space of resort. 3)The touristic resources development in rural region is contributed to the regional development through the raising interaction of the touristic resources. 4)The rural region is developed to be the space of the Korean rural tradition 5)The grassland os constructed in the mountenous land and the landscape of the Korean national land is changed to be the picturesque landscape. 6)The construction of the traditional artistic products is accomplished to increase the income of the people in rural region.

• Journal of the Korean Institute of Landscape Architecture
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• v.13 no.2
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• pp.27-36
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• 1985

^x In Korea, we are entering on a new phase that the use concept of urban park is extending to dynamic activities such as games and sports. This article is to investigate the significance of lawn areas, as a receptive space of such a wide range of recreation activities. As a study process, Green Styles (type of parks) such as Garden Type, Park Type and Forest Type were studied and historical review of lawn areas in park development was performed. In conclusion, the lawn areas ( greensward) are an essential part of park and open space organization. The significance as a conclusion is presented as follows : 1 ) Balance in type of parks The structures of our parks and open spaces are inclined toward the artificial Garden Type and natural Forest Type. Therefore, the intermediate Park Type and sparse wood areas should be a core part of our park and open space development. 2) Psychological effect Park Type areas, thorned by greensward(lawn area), can refresh urban dwellers with natural picturesque landscaps, and Park Type landscape is the most preferred natural landscape. It shows the essence of natural amenity as 3) Accomodation of wide range of recreation activities Lawn areas in urban park are the best place in accomodating the wide range of active and massive recreation activities. Thus, lawn areas can increase the freedom of recreation use in urban park. 4) Enlargement of physical carrying capacity. With expansion of lawn areas of euro- american concept, the structural open space can be transformed into service open space. Thus, the recreation carrying capacity of urban parks can be enlarged.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.4
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• pp.84-94
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• 2013

This study scrutinizes the titles of serial poems on Japanese Apricot, which have lucid characters on season and time changes, having been appreciated and recited by the scholars in the Choseon Dynasty era and analyses the records of Zhang zi(1153~1235), a writer in Song(宋) Dynasty in China, having presented the objects harmonizing perfectly with Japanese Apricot. The results of this study categorizes the objects of Japanese Apricot appreciation and establishes the landscape characteristics on Japanese Apricot appreciation affiliated with as follows. First, the objects of Japanese Apricot appreciation are categorized into 'form of blossoms', 'natural feature(景物)', 'place of tree planting', 'the picturesque scene(景色)' and 'behavior'. Second, the scholars regarded the single trees whose branches are grotesque as the objects of appreciation and enjoyed them. They preferred white and single petal Japanese Apricot and admired red Japanese Apricot which has Taoism images. Third, they admired pines and camelias which represent fidelity and strength and valued Japanese Apricot with cranes which remind themselves of solitary scholars. Fourth, they appreciated the images of Japanese Apricot reflected on the water, and the poetically inspiring atmosphere where the trees are planted by the window. Fifth, the moon and snow were crucial weather conditions for appreciating. cold weather and time from night to dawn were ideally suited for enjoying. Sixth, they enjoyed blossoms in various fashions like bottling(甁梅), potting(盆梅), green-housing(龕梅), searching(龕梅) and black-and-white painting(墨梅) with a view to seeing blossoms earlier than the usual flowering time. Moreover, they used paper drapes, bead curtains, mirrors and ice lamps for active appreciation. They also listened to the sound of Piri(wind) and Geomungo(string), played go and drew tea with noble and elegant beauties when they enjoyed Japanese Apricot. The scholars influenced by the neo-Confucianism, which contemplates the objects, attached the specific sentiments like memories, grieves, dreams and farewells to Japanese Apricot and appreciated them. As stated above the scholars enjoyed the landscape including the picturesque scene like climate-weather, time-season and human behaviors not to mention the physical beauty of Japanese Apricot themselves and objects in company with Japanese Apricot including animals and plants.

• The Journal of Art Theory & Practice
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• no.15
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• pp.7-30
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• 2013

This is a study on the ecological view of Robert Smithson's reclamation projects. Smithson was a pioneer of Earth art in the late 1960's. Robert Smithson believed that he could transform industrial wastelands, such as an abandoned oil rig and a no longer used quarry, into "Earth Art." In the early seventies, he conceived of land reclamation as a new art form and called this art "Reclamation Projects." His attention regarding industrial ruin started from the American political and social situations in the 1960's. In the late 1960's, American society was in chaos from the right of movement of African Americans, the women's rights movement and from the strike for renunciation of the Vietnam War. The intellectual class seemed to believe that it was the destiny of a closed system's society to run in the direction of entropy. Smithson, who was skeptical about the system of American society, also thought that entropy was the proper diagnosis to describe America's situation in the 1960's. The 1960's civic movements like the civil rights movement and antiwar movements expanded into the environmental movements based on ecological views of the 1970's. The government had also started to worry about environmental pollution. Thus, the reclamation act was also established in 1972. Smithson believed that the relation between art and social background are closely related and affect each other. He was concerned with how art can join society, and the result was reclamation projects. Such reclamation projects lie on man-made wastelands, like abandoned oil rigs and no longer used quarries, which was an allegory of entropy. He also thought that Frederick Law Olmsted was a pioneer of earth art. The aesthetic category of Olmsted's view of landscape is to be based on the picturesque of Uvedale Price and William Gilpin. So Smithson, who considered Olmsted as his touchstone, also accepted the picturesque. Such reclamation projects aim to change with nature by adapting the creative power of artists to the ruin which has the highest level of entropy in industrial society. Smithson wanted this to become the bridge between man and nature. His reclamation project's aim, which shows the system interacting between man and nature as a network, is not different from the ecological view of the 1970's environmental movement.

• Journal of the Korean Institute of Landscape Architecture
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• v.33 no.5 s.112
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• pp.15-30
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• 2005

A deserted town once vibrant with active commercial activities around a railroad station now tries to find a way to escape from depression and revive its life with a renewed civic pride. An open space adjacent to the Main Street, the commercial district of Buzzards Bay, Massachusetts, is waiting to be transformed and reconfigured to be a new ecological park to boost the economy of the community. Bridge Park is 26-acre land abutting the Cape Cod Canal with a railroad bridge as a backdrop. The existing condition of the site with a small salt marsh, woodland, lawn, and the vestige of old railroad easement along with the proximity to the commercial district poses an interesting question of how to make a medium scaled ecological park within an urban context. This paper examines the winning design proposals for the Bridge Park submitted to the International Design Competition held in April, 2005. Six winning proposals were introduced and discussed in terms of categories related to the trend of contemporary landscape design such as; 1) ecological ordinariness and geometric figures, 2) topography and spatial imagination, 3) minimal programs and open put 4) time and process oriented design, 5) park and economic effects and 6) diagrammatic plan and photo montage. Bridge Park Design Competition confirms the complex characteristics representing the contemporary landscape design overcoming the dichotomy between nature and culture and the 'pastoral ecological design' and 'landscape as an art'. The Park becomes the activating agent for the community rejecting the conventional and passive role as a romantic picturesque landscape. Bridge Park International Design Competition is a meaningful event to test the idea of new ecological urban park, and to fine-tune the trend of the contemporary urban park design.

• Journal of the Architectural Institute of Korea Planning & Design
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• v.34 no.5
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• pp.129-138
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• 2018

The purpose of this study is to analyze and evaluate the significance of undulated planes of architectural landscape methodology, to assess if the methodology had potential to be a sustainable architectural model, to be experimented in future. To achieve this purpose, the historical origins and changes of the landscape is discussed to analyse how it influenced modern architecture. Then the effects of panoramic sensibility derived from the picturesque garden is analysed to evaluate the influence it had on the change of the perception of space and modern architecture and landscape design strategy. Then 1980s and 1990s' symposiums and landscape theories are examined. To find pivotal moment of merging landscape and architecture, the design schemes of Bernard Tchumi and OMA for La Villette competition are selected as manifestations to show co-existence of landscape and architecture. Afterwards Yokohama ferry terminal is analyzed to present the undulated planes deployed for the union of landscape and architecture, to the affect of uninterrupted spatial connectivity. The impact of undulated plane on interior is explored in analysis of Rolex Learning Center, consequently changing the relationship within functions of the interior and the role of circulation. Finally, the spatial characteristics and significance of undulated plane is explored. The spatial characteristics are, the relationship beyond the visual connection through seamless connection; the multiple access paths and discard of transition space thereby diminishing boundaries; the environmentalization of architecture by spatializing circulation and promoting in-hierarchy. The significance of undulated planes are, the synthesis form of architectural typology; the cultivation of public sense; the closest spatial type to the space of appearance referred to by Hannah Arendt.