• Journal of the Korean Institute of Landscape Architecture
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• v.41 no.4
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• pp.24-41
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• 2013

This study aims to investigate the complex planning processes and design ideas of the Gwanghwamun Plaza which was opened in 2009. The opening of the plaza was significant as it was built in order to restore the symbolic meaning of axis in the historical Joseon Dynasty that was distorted during the Japanese Imperialism. The plaza itself attracts many citizens and tourists by providing the empty ground carrying historical ambiences around. In this paper, the story of the Gwanghwamun plaza will be summarized. Particularly, the background of promoting the project will be discussed and the whole planning process will be dealt with. The plaza was realized through several stages. First, the planning stage will be reviewed. The planning stage had been a quite long process since the initial idea was discussed. Since the early 90s, the political decision of making the plaza was made through the change of people's understanding toward public space. At this stage, the city government worked together with diverse citizens and professionals to share the vision and to realize the right decision in making the plaza. Second, the design stage will be elaborated in detail. This is the second design stage. The former was the idea competition and the latter was the turn-key base. The final design scheme emphasized the restoration of symbolic axis and the forgotten Yukjo Street. The scheme consists of four zones such as history restoration zone, prospect and history representation zone, culture zone, and the urban zone. Through the whole design process, the original idea remained as it was. The design concept was "a place of memory and prospect." It emphasizes the history representation, view corridor, cultural activities platform as well as the emptiness and flexibility of the basic premise of the plaza. Finally, the construction stage will be discussed. There were some additions and omissions in the construction process. The design chances in the construction stage will be reviewed in detail. After the opening of the plaza, there were some changes in the detail design. We will discuss how and why these modifications were made. In the end, the social and cultural implication of the plaza will be discussed. The storytelling of the Gwanghwamun Plaza will contribute to the clear understanding of planning and design process of pubic places. Based on this reflection, we are able to think about some suggestions of public projects for the future.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.4
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• pp.33-50
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• 2013

The purpose of this study was to seek the spatial organization and prototype landscape through literature reviews, historical evidences, and field surveys for Donggwanwangmyo(東關王廟) shrine in Seoul. The results were as follows : First, the basic layout of the main buildings in Donggwanwangmyo which is the remains influenced by China had bilateral symmetry on the central axis between the north and south. Second, the Chinese forms and features were found at Jeong-jeon and middle gate in Donggwanwangmyo, and the symbolic elements of royal authority was also found in each space of Donggwanwangmyo. Third, spatial organization was classified as the entrance and the ritual area, and the entrance area was maintained by administrators and was used as the place of ritual ceremony preparation. Fourth, the original form of Donggwanwangmyo had been damaged due to the project for making urban park in the 1970s. The most of the existing trees and shrubs which are not suitable to the shrine should be removed to recover the original landscape of Donggwanwangmyo and chui-byoung(翠屛), pond, landscape facilities also needed to be restored. Fifth, Donggwanwangmyo needed to reorganize the pious atmosphere to recover of the shrine environment, and needed to be reclassified as historical site. Finally, some criticizes that Donggwanwangmyo is the result of Toadyism, but Donggwanwangmyo can be used as the valuable tourism resource through the awareness that Donggwanwangmyo was built under the situation of Joseon Dynasty, and organization and understanding that Donggwanwangmyo is a symbolic remains for the exchange between Korea and China.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.2
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• pp.46-63
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• 2012

The object of this study was to analyze the speciality of Korean traditional waterscape and unique landscape formed with reflection of the phases of the time sat the area of Juhabru(宙合樓) in Changdeok Palace as a basic research to find the prototype of Taeaek pond at Changdeok Palace and restoration of the palace. Originally, Taeaek pond at Changdeok Palace was constructed in KingInjo(仁祖) period as a name of Yongji(龍池), later it called Taeaek pond after King Sukjong(肅宗). There is an island as a symbol of the immortal isle, and Chungseojeong(淸署亭), Taiksujae(澤水齋) and Buyongjeong(芙蓉亭) which were built to view the waterscape in Taeaek pond. Buildings were built asymmetrical balance around Taeaek pond because of the morphological character of tetragonal pond. Arrangement of this area has a definite form of axial structure. Yeolgokwan(閱古觀) Gaeyuwa(皆有窩), pavilions, bridges, islands, Osumoon(魚水門) and Juhabru are located on the north and south axis, and island and Osumoon play a role as a intersection and form an east of west axis. In this study, manual of construction for an island and pavilions is provided by analyzing transformational process of island and pavilions at Taeaek pond. Furthermore, kings and officials used to statically enjoy the view around Taeaek pond area, but dynamic fishing and boating activity happened in King Jungjo(正祖) period. These historical backgrounds have an influence on the spatial organization of Taeaek pond. For instance, bridge between Taeaek pond and island was destroyed with the increase of the importance of boating. Symbolic structure around Taeaek pond means 'fish changes to dragon' and 'both of king and officials become one'. Taiksujai, carving fish, Osumoon and Juhabru are provided as a related spatial factors.

• Archives of design research
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• v.16 no.4
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• pp.129-140
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• 2003

As the importance of Culture Technology (music, publication, mobile, film, video, cartoon, animation, character, game, broadcasting etc) is increased, the field of character industry recently has been recognized as an independent brand value beyond the existing view point of simple designing; it also has been given much attention as a main axis leading the cultural industry of the 21 st century. The character of a local government plays roles such as a symbolic part of a region, parts of tourism and public relations, and a profit-making function, which results into generation of regional image and activation of regional economy. However, the present application strategy of the character is only limited to an early stage of regional advertisements. In this context, this study is aimed to investigate and analyze the character development of local governments, especially 31 cities and goons of Gyeonggi Province, comparing with those of local governments of Japan. In the long run, this will provide some suggestions for strategy of character applications. Then, this research is expected to be used as basic reference materials for character development of other local governments and government agencies.

• Journal of architectural history
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• v.16 no.2
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• pp.79-98
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• 2007

The building site was presumed as the Howonjeokwon or the Dasiwonji established at the traffic route among western inland areas in old Pyeonghaegun. The groundwork was composed inclination terrace of two steps. The upper step was the territory of the main house of ceremony symbolic+lodging function and the down step was divided in the territory of both Ikrang-chae of boarding and lodging management function and the territory of Haengrang-chae pavilion of rest reception management. The building composition by each territory formed space differentiation with the line of flow according to the thorough rule of court rank. The arrangement composition set the strong center axis in tandem, and it was the building arrangement interpreting the territory and the rule of court rank by function as the relationship of master and servant and was the building type emphasizing on the whole unity with the geometric symmetry structure. The Dasiwonji and the Hyeeumwonji had the common point which is the traffic architecture of semi governmental management reinforcing the boarding lodging function in the place which a visitor stayed. The Haeeumwonji and Dasiwonji had the difference in the size, but was the same in the composition system of construction. The external space and the system of the line of flow decided from the functional territory separation and the hierarchical rank as thorough as the geometric arrangement focusing on the whole unity. Namely, it was the strict and unusual system of the line of flow depended on the thorough rule of court rank than the efficient approach or arrangement of the line of flow. After being established to be the Howonjeokwon at the end of Koryeo, it disappeared at the time of the invasion of Japanese pirates when it was the time of the King Woo in Koryeo. It is presumed that it was continued until both wars, Imjin Byeongja, ago after changing its name to the Dasiwon, being restored to the small size at the end of Koryeo at the early of Choseon.

• Journal of the Korean Institute of Landscape Architecture
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• v.39 no.3
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• pp.26-38
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• 2011

The purpose of this study was to analyze the commemoration culture of Vietnam War Memorials (VWM) in Vietnam. Through site survey, the researcher selected 23 VWM in Vietnam and analyzed 5 categories: memorial type, design concept and narratives, location and spatial form, landscape elements, and content expressed in landscape details. The results are as follows: 1. Because of the long, drawn out Vietnam War, which lasted from 1955 to 1975, VWM were divided into 10 types mainly as soldier cemeteries based on a traditional memorial style, battlefields and places of tragedies considering sense of place, war museums representing victory and atrocity in war, and peace parks promoting reconciliation and peacemaking. 2. The analysis revealed that the main concepts and narratives of VWM were to value the victims of the Vietnam War, remember soldiers' contributions, highlight the victory in war and resistance to the United States, and express a sense of place. Peacemaking applied only to My Lai Peace Park and Han-Viet Hoa Binh Cong Vien, built by international cooperation. 3. Cemeteries and appreciation memorials were designed to follow a traditional memorial space form that highly regard both axis and symmetry. The design concept at battlefields and places where tragedies occurred depended mainly upon a sense of place and used symbolic landscape elements to compensate for the undefined concept. 4. Sculptures and towers were mainly used to highlight war victory and resistance as the representative style of a Socialist country, weapons and pictures exhibited in war museums and battlefield showed the reality and strain of war. Symbolic elements of Buddhism and Confucianism were often introduced as a way to venerate the memory of deceased persons. 5. The state and heroic actions in the Vietnam War were realistically depicted on sculptures and walls. Also, the symbolic phrase, 'TO-QUOC-GUI-CONG' meaning 'our country remember your achievement', were written on the memorial tower and 'Quagmiire' was used to metaphorically represent the difficulties faced by the U.S. military on battlefields during the war and the uncertainly that pervaded U.S. society in those days. 6. In VWM, ideologies like nationalism, patriotism, socialism, capitalism were mixed and traditional cultures like Buddhism, Confucianism, Taoism were inherent. Differing from their Confucianism culture, war heroes, particularly including women, were often described by sculpture, monument, and pictures and the conflict in and outside the country regarding the Vietnam War was shown. Further study will be required to analyze design characteristics of VWM in the u.s. and to understand the difference in commemoration cultures between Vietnam and the U.S.

• Journal of the Korean Institute of Landscape Architecture
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• v.49 no.5
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• pp.97-111
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• 2021

The purpose of this study was to analyze commemoration characteristics of the United States of America, the Commonwealth, and Germany through representative 14 military cemeteries of World war II in Western Europe. Based on the commemoration characteristics such as spacial characteristic, commemorative elements, and graves and headstone, the commemoration culture among U.S., the Commonwealth. and Germany were studied comparatively. The results are as follows. First, taking geometrical form with mainly square type, rarely circle and spiral patterned, most cemeteries were structured spatial central axis with symmetry, those cemeteries were styled neoclassical, but some of the U.S. cemeteries were modernistic, connecting spaces organically with curved line layout. Second, chapel, the wall of missing, the wall of battle map, and sculpture in the U.S military cemeteries, and 'the cross of sacrifice' and 'the stone of remembrance' as classical monument in the Commonwealth war cemeteries were commonly applied standardized commemorative elements, but commemorative monuments in German military cemeteries were restricted except monumental cross. Third, the symbolic cross of christianism was used all cemeteries to console and cherish the soul of soldiers, specially the Latin crosses in the U.S military cemeteries delivered political message as the american martyr for Western Europe and also the power of the U.S., but the cross in German and the Commonwealth war cemeteries were basically cherish and comfort individual spirit. Fourth, showing the power of victory with national patriotism, the U.S. strongly represented christianism and liberal democracy against communism, the Commonwealth showed imperialistic style, and German military cemeteries were quietly appeared as traditional style forwarding reconciliation and peace. This study suggest the war cemeteries have national identity with typical form and symbolic aesthetics. Further study will be required to materialize sublime commemoration in national cemeteries and to form advanced commemorative culture in Korea.

• Journal of the Korean Institute of Landscape Architecture
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• v.40 no.4
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• pp.51-61
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• 2012

Kyong-Eui Railway used to be one of the major cross-country railways connecting Busan and Shineuiju. Being the central axis of logistics and transportation in Korea, it also signifies a symbolic meaning of the people's desire for the unification of divided Korean peninsula. A steam locomotive that had stopped in Jangdan Station was bombed out during the Korean War. The locomotive has been neglected and covered with rust in DMZ over a half century, and now is becoming a historic reminder of divided Korea. The initial design approach was based on the three main perspectives of the relocation plan of the steam locomotive in Jangdan Station which is designated as the registered cultural asset no. 78: historical significance, role of a monumental space, and influence on and from the local culture and tourism. Three design subjects were especially highlighted which would represent the identity of the cultural asset, the stream locomotive. First, a vertical watching deck was installed to provide various view points toward the locomotive while ensuring the security of visitors as well as the cultural asset. Second, the Dokgae bride area has good design potentials being on the railway. However, the site is too narrow. Thus, a new ramp and a stairway were placed responding to the existing topography so that the pedestrian environment could be secured last, to respect the local context where the locomotive was originally located, mulberry trees in the locomotive were transplanted as well. Flowering plants were planted around the display area for better ventilation to minimize the negative impact on the locomotive.

• Journal of the Korean Institute of Landscape Architecture
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• v.36 no.1
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• pp.80-89
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• 2008

Generally, trees lining the streets are the most easily accessible green areas in the city and constitute the smallest basic unit in the formation of the urban linear green axis. This study attempts to interpret issues related to city trees from a comprehensive and relational viewpoint. The site of this study is Central Park Street in front of Incheon Metropolitan City Hall. This street is representative of those in Incheon City. This study is an inter-relational interpretation of issues by measuring the vitality of these trees. The following are results of this study: First, the vitality of city trees is higher in those trees growing in natural ground than those growing in plant gratings. This observation can lead to budget savings and increased natural areas in the city. Also, if planter and multi-layering planting methods are introduced where damage to trees is predicted, variation to urban landscape can be achieved while linking to reinforced rearing foundation of street-side trees. Second, there is need for a holistic approach to caring for street-side trees regarding the damage caused by drastic pruning and strong street lights. The typical functions of these trees, like supplying freshness in summer, absorbing solar radiation, and controlling the urban micro-climate are closely related to the vitality of the trees. Accordingly, the function and ecology should be understood holistically, not separately. In this aspect, the functional and ecological use of the multi-layering planting method is effective in protecting pedestrians from vehicles as well. Third, the fallen leaves of monotonous rows of trees have different ecological and functional effects. Not only is the index of greenness in the urban setting increased, but there are also aesthetic and symbolic effects. Fourth, in spite of being the street along which Incheon Metropolitan City Hall, major administrative buildings and Central Park are located, this street does not have its own special identity to discriminate it from other streets. It fulfills only functional criteria based on uniformity. If there is no paradigm shift from today's street system based on vehicles, the role of landscape architecture will be very passive in regards to street-side trees, the minimum unit of urban green. Fifth, on this particular street, many trees were planted in December, which reflects a deficiency of short and long-term strategy, like a street-tree master plan. In this aspect, we still lack a mature culture concerning these trees as a basic unit in urban greenery. Furthermore, there needs to be cultural introspection concerning present administrative practices.