• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.3
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• pp.106-115
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• 2011

This study, based on (edited in 18th century), analysed the landscape system and cultural landscape elements of Yuhoidang(Hageowon 何去園) Garden in Musu-dong, Daejeon, and the findings are as in the following. YuHoidang(Gwon Yijin 權以鎭) managed Hageowon Garden in Musu-dong, located on the southern branch of Mt. Bomun, to realize his utopia. The completion of Hageowon Garden was only possible due to his installation of a variety of facilities in family gravesite on the hill behind his house: Shimyoso(Samgeunjeongsa 三近精舍, in 1707), Naboji(納汚池, in 1713), Banhwanwon(in 1714) and expended exterior space(in 1727). With regard to the landscape system of the village, the main range of mountains consists of Mt. Daedun, Mt. Odae and Mt. Bomun. The main high mountain of the three is Mt. Bomun, where 'Blue Dragon' hill branches off on the east side(Eungbong), 'White Tiger' in the west(Cheongeun and Sajeong) and Ansan(inner mountain) in the south. The landscape system is featured by 'mountains in back and rivers in front'. The river in the south-west, with its source in Mt. Juryun is called as the 'Stream of outer perfect spot', while the 'Stream of inner perfect spot' rises from Eungbong, passing through the east part of the village into the south-western direction. Banhwanwon Garden(盤桓園) was created with the stream in the east and natural bedrocks, and its landscape elements includes Naboji, Hwalsudam, Gosudae, Sumi Waterfall, Dogyeong(path of peach trees), Odeeokdae(platform with persimmon trees), Maeryong(Japanese apricot tree), springs and observatories. An expanded version of Banhwanwon was Hageowon garden, where a series of 'water-trees-stone' including streams, four ponds, five observation platforms, three bamboo forests and Chukgyeongwon(縮景園) of an artificial hill gives the origin forest a scenic atmosphere. When it comes to semantics landscape elements, there are (1) Yuhoidang to cherish the memory of a deceased parents, (2) Naboji for family unification, (3) Gosudae to keep fidelity, (4) Odeokdae to collect virtue and wisdom, (5) Sumi Waterfall to aspire to be a man of noble character, (6) Yocheondae for auspicious life, (7) Sumanheon and Gigungjae to be in pursuit of hermitic life, (8) Hwalsudam for development of family and study, (9) Mongjeong to repay favor of ancestors, (10) Seokgasan, a symbol of secluded life, (11) Hageowon to enjoy guarding graves in retired life. The spatial composition of Hageowon was realized through (1) Yuhoidang's inside gardens(Naboji, Jucheondang, Odeokdae, Dogyeong, Back yard garden and others) (2) Sumanheon(收漫軒) Byeolup or Yuhoidang's back yard gardens (Seokyeonji, Yocheondae, Sumanheon, Baegyeongdae, Amseokwon and others) (3) Chukgyeongwon of the artificial hill(which is also the east garden of Sumanheon, being composed of Hwalsudam, Sumi Waterfall and Gasan or 12 mountaintops) (4) the scenic spots for unifying Confucianism, Buddhism and Taoism are Cemetry garden in the back hill of the village, the temple of Yeogyeongam, Sansinkak(ancestral ritual place of folk religion) and Geoeopjae(family school). On top of that, Chagyeongwon Garden(借景園) commands a panoramic distant view of nature's changing beauty through the seasons.

• Journal of Korean Society of Forest Science
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• v.9 no.1
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• pp.61-74
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• 1969

Forest area in Korea ocupies as much as 68 percent of the total land area, but forest production figure in the statistics is rather trifling: that is about 2 percent of Gross National Production (G.N.P.), on the average. In view of the primary industrial sector, its production only weighs no more than 5 percent of this whole sector. Forest production written above refers only to direct forest income of the whole forest income. For the primary forest products they are in many cases used as raw materials for other interrelated industries. The added value there-from, which arises from round about production Process, in other word, indirect income is of most singnificance. Nevertheless, until nowadays forest production has been merely refered to timber production i, e, direct production but indirect income has never been looked upon. In this regard, calculated indirect forest income by means of input ratio method. The material used were Leontiefls tables of two 1963 and 1966 fiscal years, surveyed and analysed by The Bank of Korea. Indirect forest income calculated were 42,688,200,000 won in 1963 and 74,789,800,000 won in 1966 compared direct forest income of 14,361,000,000 won in 1963 and 17,709,000,000 won in 1966. So far as indirect forest income is considered total forest production indices composed of direct and indirect forest income amount to 8.23% in 1963 and 10.12% in 1966 of Gross National Production. Invisuable forest income which originates from, what we cal, indirect benefit of forestry such as land conservation, flood and drought control, soil run off control, scenic beauty and many others is naturall, not included in the calculation. As already mentioned, primary forest products are, for the most part, utilized as raw materials for other industries, therefore indirect forest income is rather appreciable than direct forest income, contributing for the growth and development of other connected industries. In these points of view, forestry must not be evaluated trifling in deciding industrial importances.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.1
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• pp.113-119
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• 2010

This study examined figurative characters of rice terraces, and is intended to seek figurative possibility of a natural scene by selecting Gyeongnam Area Namhae Gacheon rice terraces, Sancheong Imcheon rice terraces and Hamyang Macheon rice terraces through an analysis of the target land. As a theoretical background, studies of a natural scene and figuration-related literature were looked into, and for figuring a natural scene on the basis of the results, the character of the topography of rice terraces was divided into 9 items as follows by generalizing the inspiration obtained from the natural scenic character and spatial character of rice terraces represented from the topography: (1) Inclination showing the degree of the slope of rice terraces, (2) The bending showed by unevenness of the edge line of rice terraces, (3) The degree of parallelism of the up-and-down edge line, (4) The size of the width of the section of each rice terrace, (5) The area of the total rice terraces, (6) Step gap that indicates the difference of high and low of the up-and-down small rice terraces, (7) Figuration as an image represented by the external form of the total rice terraces, (8) Naturalness and artificiality kept by the total scene, (9) Softness of cornerstones or soil that forms small rice terraces, an atmosphere produced by the total scenes, etc. The results of analysis made through GIS, with rice terraces of Gyeongnam Namhae, Sancheong and Hamyang Area as the target land, are as follows. First, the steeper the inclination is, the higher the step difference of cornerstones becomes, and the steeper the inclination, the narrower the area and width become, so that it could be known that, in rice terraces, inclination is proportional to step difference and the area is inversely proportional to the width. Second, it is considered that line showed in rice terraces, area elements and reiteration, repeated changes, and changes in the scene affected by the surrounding environment including those according to season can be converted into a variety of images according to an individual disposition. Third, it was decided that it is possible to figure repetitive composition and directivity, motility, order and change, etc. into a common type drawn from each target land. This paper, as a study of basic materials for expressing figuration in an environment field, investigated and analyzed the surrounding environment of the target land, and is significant in that it attempted the possibility of being able to generalize the environmental beauty of the target land as one figurative element. More precise studies are expected to be made later.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.2
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• pp.20-30
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• 2013

'Paulownia tree', one of a tree species which has been with human civilization, has been widely used as a garden plant. The purpose of this study is to investigate concrete species of 'paulownia tree,' which had been planted in Korean traditional garden, the position of plantation, and consider its usefulness therefrom. The results of the study can be summarized as follows. 1. As the result of considering old literatures as encyclopedia, agricultural book (農書), gardening book, etc., there's a difference in the description of 'paulownia tree' depending on the complier, as well, the classification of concrete species is quite ambiguous. Therefore, it judged a limit which is planted based on point of the compass is not apply to species of tress of paulownia tree. Merely, the point of suitability and evasion(宜忌) related to the plantation of 'paulownia tree' could be identified in "Jeungbosanrimgyeongje(增補山林經濟) and "Imwongyeongjeji(林園經濟志)", not "Sanrimgyeongje (山林經濟)". 2. It could be confirmed again through poetry and prose which describe old garden that the words such as 'O(梧)', 'Dong(桐)', 'Odong(梧桐)', etc. were used without significant division. However, it is supposed that the species 'Odong' which was actually adopted at the garden might be Catalpa as well including Korean Paulownia and Chinese parasol tree. 3. It is considered that the reference point of suitability and evasion(宜忌) regarding 'paulownia tree' plantation was not generally applied. That is, species of paulownia tree was not divided for planting according to direction, as well, they seemed to willingly plant paulownia trees nearby the house as well, e.g. front yard or nearby yard, etc. 4. The usefulness of paulownia tree as a garden plant of an old garden played a role of 'the messenger of fall,' emphasizing a sense of the season. 5. Paulownia tree has another usefulness as a tree which adds an Ephemeral landscape. Therefore, the ancient people considered 'paulownia tree' that goes with 'the moon' the best, and enjoyed the quaint beauty of those two are juxtaposed. Also, 'paulownia tree' was utilized as a tree which adds an atmosphere of a rainy day, such as enjoying the sound of rain dropping on the 'paulownia tree', etc. The limitation of this study is that the research was performed being restricted to the translation among lots of Chinese references. Later-on task of research is the necessity of a more in-depth study through the discover of new historical sources and the accumulation of translation outcome.

• Journal of the Korean Institute of Landscape Architecture
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• v.45 no.1
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• pp.105-116
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• 2017

Murals in villages revitalize communities and spaces, and are economically efficient. Central and local governments are therefore actively undertaking Mural Village Projects but there are some issues and concerns about the projects for the provision of uniformed landscapes for the regions that are the result of a short-term completion of projects, and instead of cohesion, cause destruction of place identities. In addition, the problem of sustainable landscape management that is the result of low community involvement can be pointed out because the murals are products of government-led projects. The study covered the context of landscape and space change processes from a critical perspective, and focused on Ihwa-dong Mural Village, which is considered the first mural village in Korea and has begun to undergo drastic changes due to attention received from media. The purposes of this study are as follows. First, the study provides data about difference of place identity perception and landscape preference between residents and tourists in Ihwa-dong Mural Village. Second, this paper evaluates the current Mural Village Projects and finds alternative directions to improve the projects by using these data. This paper analyzed tourist hot spots in Ihwa-dong Mural Village by using SNS analysis, a field study and focus group interviews. The difference of place identity perception and landscape preference was examined among three groups: residents, new residents who are invited by Mural Village Projects, and tourists. This study showed that many tourists are focused on landscape areas that were not intentionally constructed projects. In addition, the locations of preferred landscapes and stores overlapped. Meanwhile, using qualitative data analysis, it was found that residents perceived the area as being an under-privileged location, while the murals, a non-daily landscape, largely affected place identity perception of new residents and tourists. For landscape preference, tourists preferred outdoor rest areas, while new residents and residents preferred less. Additionally, new residents and tourists preferred an area's night view while residents made no mention of this. Related to the direction of the projects, three groups showed their dependence on the government. This empirical study is significant from a participatory design perspective and in analyzing the issues for mural villages' landscapes, which are spreading across the nation and proceeding without criticism in urban regeneration. Implications for urban planners and suggestions for the future projects are given.

• Journal of the Korean Institute of Landscape Architecture
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• v.40 no.3
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• pp.69-80
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• 2012

The purpose of this paper was to study the issues related to converting the graveyards within forests into spaces intended for tree burials by means of planting, given the situation that the graveyards have encroached on land and damaged the environment. For the reason, a field survey was performed to determine the width, length, and distance to the nearest tree of 205 graveyards in the capital area. Through this, it was determined that the domestic lands damaged by graveyards amounted to $862km^2$, including the areas that were deforested to manage the graves. This only confirms that land encroachment by graveyards is a serious issue. The methods for making tree burial sites were examined from the perspective of how to meet public demands given the graveyard's spatial distinctiveness. As a result, this study suggested different methods to establish tree burial sites according to the degree of transformation and the term of its formation. This study also classified the graveyards into three types, and identified the planting methods that harmonized the safe growth of trees and the scenic beauty of memorial places based on the standard. This is in order to plant trees that are shade-tolerant and suitable to the forest line, along with which other tree line was and also, to plant aesthetic trees around the empty space. Through applying the developed methods, this study established and monitored two exemplary sites in Yongin and Boryeng. Aesthetic trees were planted in Yongin site which was located in an open area, aod the shade-tolerant trees were planted in Boryeong, which was located in a forest area. As a result, the image of a garden appeared at Yongin site and the image of a tree colony harmonized with the near forest emerged at Boryeong site. Therefore, it is confirmed that the method of planting according to the distribution status of neighboring trees was effective. As a result of monitoring, mulching wood chips were suitable for sites that were small or easy to approach. This is because the weeds were controlled in Yongin site by mulching. Furthermore, by monitoring the growth of 11 species of vegetation, this study confirmed that low and cover-type vegetations were suitable for tree burial sites. In Boryeong site, the wild cherry trees, which were planted as adult trees, all died, and the tilling of snake's beard, which were planted as cover vegetation, was slow. Therefore, this study found that seedlings were more suitable to plant in forest graveyards than adult trees, which were large and difficult to approach, and it was effective to use the remaining lawn and form a low vegetation after the crown of trees had expanded to such places.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.2
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• pp.11-20
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• 2018

This study is to review about Yeongpyeong(永平), Baengnoju(白鷺洲)'s status and meaning landscape from literature and carved letter by literature reviews and a field survey. Baengnoju is named from mounting Geumneung(金陵) Bonghwangdae(鳳凰臺) poetry written by I, Baek(李白). There were many 'Baengnojus' all over the country but Yeongpyeong Baengnoju was the most famous beauty spot in Joseon dynasty. We identified many documentations about carved letter in the rock by literature reviews. So We guessed Baengnoju's past landscape and discovered undiscovered carved letters in the rock. Baengnoju became a famous place by Yang, Man-go(楊萬古)'s villa and I, Myeong-Han(李明漢)'s poetry. After this, it had received attention because it had a fine view and a good place to live. We thought that Baengnoju's documentations about carved letter in the rock was the most important, because carved letter in the rock is the fundamental factor to explore a noted wiseman' trace. Especially, documentations about carved letter in the rock was concentrated with Seoin(西人)'s literature. It is the important materials to identify carved letter in the rock. We studied about Baengnoju's carved letter in the rock by literature reviews and a field survey. First of all, it was identified as Jo, Sang-Wu(趙相愚) who wrote "Baengnoju" letter. We also discovered two undiscovered letters in Baengnoju letter's left side. There were Yu, Gi-Il(柳基一)'s carved letter in the rock in the other side. It was many carved letters in the rock in Baengnoju, but we knew so many differences comparing with literature. So, we need to establish plans to preserve. On this occasion, we wish that many people will be pay more attention to Baengnoju.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.35 no.4
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• pp.56-74
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• 2017

The purpose of this study is to draw an implication regarding "Han-jeong-rok" as the proposal on modern lifestyle. This study classified the behavioral patterns pursued in "Han-jeong-rok" in addition to the 'psychological method of practice' and the 'practical method of practice' for the realization of such behavioral patterns pursued in conducting the study. The outcome of this study can be summed up as follows. The result of reviewing the mainstream modern lifestyle indicated that in the well-being craze, practical and selfish tendency were prominent and the side effect of distorted culture of consumerism were also evident. Lohas faced the limitations of lifestyle led by marketing. The slow movement can be differentiated in that it takes even immaterial aspects into consideration including the value of life and etc. However it faces the limitation of being led by community. In the healing craze, modern day people thirst for something that can heal them. All of these people have strong tendency of relying on the external factors for their personal health and well being, and it possesses a weak point in that it can easily be linked to commercial viability. Compared to the same, the implication that Heo Gyun can gain from "Han-jeong-rok" can be summed up as follows. First, "Han-jeong-rok" emphasizes the point that the agent of life is one's self. The modern lifestyle is practical and relies on the external factors, where as Heo Gyun emphasizes that it should start with a serious introspection of life itself. Second, it emphasizes the psychological aspects in leading a leisurely life. Starting with elegant scenic beauty to reading and sophisticated hobbies among others, it indicates that internal satisfaction can be gained and that self-contentment free from cares, is possible. Third, it proposes standardized 'psychological method of practice' and the 'practical method of practice' for the leisurely life. Materialistic and psychological balance is also emphasized in 'practical method of practice'. The limitations of this study is that it was not a clear comparison with "Han-jeong-rok" between contemporary lifestyle and it had stayed in a review study for implications. Furthermore, there is a need for additional study regarding the concept related to landscape and cases included in the "Han-jeong-rok".

• Journal of the Korean Institute of Landscape Architecture
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• v.49 no.4
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• pp.64-73
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• 2021

The purpose of this study is to present a method to assess the landscape aesthetic value of Bukhansan National Park using geotagged images that have been shared on social media sites. The method presented in this study consisted mainly of collecting geotagged image data, identifying landscape images, and analyzing the cumulative visibility by applying a target probability index. Ramblr is an application that supports outdoor activities with many users in Korea, from which a total of 110,954 geotagged images for Bukhansan National Park were collected and used to assess the landscape aesthetics. The collected geotagged images were interpreted using the Google Vision API, and were subsequently were divided into 11 landscape image types and 9 non-landscape image types through cluster analysis. As a result of analyzing the landscape types of Bukhansan National Park based on the extracted landscape images, landscape types related to topographical characteristics, such as peaks and mountain ranges, accounted for the largest portion, and forest landscapes, foliage landscapes, and waterscapes were also commonly found as major landscape types. In the derived landscape aesthetic value map, the higher the elevation and slope, the higher the overall landscape aesthetic value, according to the proportion and characteristics of these major landscape types. However, high landscape aesthetic values were also confirmed in some areas of lowlands with gentle slopes. In addition, the Bukhansan area was evaluated to have higher landscape aesthetics than the Dobongsan area. Despite the high elevation and slope, the Dobongsan area had a relatively low landscape aesthetic value. This shows that the aesthetic value of the landscape is strongly related not only to the physical environment but also to the recreational activities of visitors who are viewing the scenery. In this way, the landscape aesthetics assessment using the cumulative visibility of geotagged images is expected to be useful for planning and managing the landscape of Bukhansan National Park in the future, through allowing the geographical understanding of the landscape values based on people's perceptions and the identification of the regional deviations.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.2
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• pp.81-89
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• 2011

The results of tracking the symbolism of plants in the introduction factors of Sokhwa(folk painting) are as the following. 1. The term Sokhwa(俗畵) is not only a type of painting with a strong local customs, but also carries a symbolic meaning and was discovered in "Donggukisanggukjip" of Lee, Gyu-Bo(1268~1241) in the Goryo era as well as the various usage in the "Sok Dongmunseon" in the early Chosun era, "Sasukjaejip" of Gang, Hee-mang(1424~1483), "Ilseongrok(1786)" in the late Chosun era, "Jajeo(自著)" of Yoo, Han-joon(1732~1811), and "Ojuyeonmunjangjeonsango(五洲衍文長箋散稿)" of Lee, Gyu-gyung(1788~?). Especially, according to the Jebyungjoksokhwa allegation〈題屛簇俗畵辯證說〉in the Seohwa of the Insa Edition of Ojuyeonmunjangjeonsango, there is a record that the "people called them Sokhwa." 2. Contemporarily, the Korean Sokhwa underwent the prehistoric age that primitively reflected the natural perspective on agricultural culture, the period of Three States that expressed the philosophy of the eternal spirits and reflected the view on the universe in colored pictures, the Goryo Era that religiously expressed the abstract shapes and supernatural patterns in spacein symbolism, and the Chosun Era that established the traditional Korean identity of natural perspective, aesthetic values and symbolism in a complex integration in the popular culture over time. 3. The materials that were analyzed in 1,009 pieces of Korean Sokhwa showed 35 species of plants, 37 species of animals, 6 types of natural objects and other 5 types with a total of 83 types. 4. The shape aesthetics according to the aesthetic analysis of the plants in Sokhwa reflect the primitive world view of Yin/yang and the Five Elements in the peony paintings and dynamic refinement and biological harmonies in the maehwado; the composition aesthetics show complex multi-perspective composition with a strong noteworthiness in the bookshelf paintings, a strong contrast of colors with reverse perspective drawing in the battlefield paintings, and the symmetric beauty of simple orderly patterns in nature and artificial objects with straight and oblique lines are shown in the leisurely reading paintings. In terms of color aesthetics, the five colors of directions - east, west, south, north and the center - or the five basic colors - red, blue, yellow, white and black - are often utilized in ritual or religious manners or symbolically substitute the relative relationships with natural laws. 5. The introduction methods in the Korean Sokhwa exceed the simple imitation of the natural shapes and have been sublimated to the symbolism that is related to nature based on the colloquial artistic characteristics with the suspicion of the essence in the universe. Therefore, the symbolism of the plants and animals in the Korean Sokhwas is a symbolic recognition system, not a scientific recognition system with a free and unique expression with a complex interaction among religious, philosophical, ecological and ideological aspects, as a identity of the group culture of Koreans where the past and the future coexist in the present. This is why the Koran Sokhwa or the folk paintings can be called a cultural identity and can also be interpreted as a natural and folk meaningful scenic factor that has naturally integrated into our cultural lifestyle. However, the Sokhwa(folk paintings) that had been closely related to our lifestyle drastically lost its meaning and emotions through the transitions over time. As the living lifestyle predominantly became the apartment culture and in the historical situations where the confusion of the identity has deepened, the aesthetic and the symbolic values of the Sokhwa folk paintings have the appropriateness to be transmitted as the symbolic assets that protect our spiritual affluence and establish our identity.