• 한국조경학회지
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• 제32권6호
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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.

• 한국조경학회지
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• 제36권5호
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• pp.1-12
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• 2008

20세기 말부터 시작된 탈근대의 사회와 문화는 새로운 환경설계의 문법을 요구하고 있었고, 당대에 등장한 대지예술은 새로운 혼성적 설계의 계기를 마련해 주었다. 대지예술의 영향아래 건축으로부터 시작된 지형적, 경관적 접근은 환경설계 전반에 장르간 혼성화의 큰 흐름을 일으켰다. 대지예술과 지형건축의 영향을 받은 조경에서는 신픽쳐레스크 조경이 등장하게 되었고, 조경의 영향을 받은 도시설계에서는 랜드스케이프 어버니즘이 태동되었다. 이러한 환경설계 전반에 걸친 땅과 경관에 대한 새로운 관심과 함께 동시대 도시의 유동적 도시활동과 동태성이 중시되면서 시간에 대한 새로운 관심이 일어나게 되었다. 이들 땅과 시간에 대한 새로운 관심들은 혼성적 환경설계장르들의 작업에 필요한 새로운 방법론들을 안출해 내게 하였는데 맵핑과 다이어그램, 폴드가 그것이다. 이들 세 가지 방법론은 특히 랜드스케이프 어버니즘에서 가장 포괄적으로 적용되고 있고, 그 중에서도 폴드는 모든 혼성적 장르에 가장 공통적으로 사용되는 형식으로 나타난다. 다이어그램은 지형건축과 랜드스케이프 어버니즘에 보다 적극적으로 수용되고 있으며, 맵핑은 랜드스케이프 어버니즘에 적극적으로 수용되고 있고, 대지조형적 조경에서는 소극적으로 수용되고 있다. 맵핑이 가지는 진보적 성격에도 불구하고 그 방법론이 개별적이고 주관적이어서 보편적 적용이 어려운 이유로 보인다. 전체적으로 보아 랜드스케이프 어버니즘은 현대도시상황으로 보아 매우 시의적절한 대안적 방법이며, 혼성의 포괄성과 지역성 구현에서 매우 높은 가능성을 보이고 있다. 특히 조경분야가 도시로 영역을 확장할 수 있는 계기가 될 것으로 보여 향후 심도있는 연구가 필요할 것으로 생각된다.

• 인문언어
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• 제1권1호
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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.