• 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 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.

• Lingua Humanitatis
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• v.1 no.1
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• pp.33-63
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• 2001

This article does not deal with a theory or theories in the usual sense of the term but rather harks back to its etymological source, theorein ' to look at.' The phrase 'theory of language' thus purports a 'view of language' and does not carry the force of scientific explication of language. In fact, the word ' scientific' or 'science' per se originates from scire 'to know' and is here to be considered not so much in regard to some kind of positivistic methodology as a form of knowledge. If this exposition sounds unduly ingenious, that is because one is caught up in all kinds of presuppositions about the words under consideration. Sometimes, when we come to grips with an issue that strikes our mind as truly important, our language, by the light of which we hope to proceed safely, plays the will-o'-the-wisp instead and leaves us in the middle of a murky maze, twisting what was at first blush a mere cinch into a Gordian knot. On such occasions, etymology comes along the way and sends us back to itself as its own principle: Resort to etymos logos 'original, true word'! The main thrust of the present study is that alongside the quantitative, positivistic thought there is another equally valuable mode of qualitative and humanistic thinking that makes a whole gamut of new and concrete investigations possible, that an integrated theory of language is Possible by way of a happy amalgamation of diversified, humanistic views of language. With this idea as the leitmotif we explore two models of theory which typically set themselves up for a 'scientific' approach to language: analytic philosophy that delves into what it calls logical simples, and contemporary linguistics that stubbornly teeters around some formal rigor or other. It is argued that they are both characterized by a looking away from the fluid, ill-definable aspects of language, giving a preference to segments and isolated facts as a means to avoid those larger wholes and totalities which if they had to be seen would in the long run lead to an uncomfortable state of mind. Language, in the final analysis, is a Protean entity: so capricious and multifarious, and yet so noetic and prophetic, that we should catch sight of its picturesque images in their entirety to give form to an integrated theory of language.