• Journal of the Korean Institute of Landscape Architecture
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• v.43 no.1
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• pp.16-28
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• 2015

This study is suggested to enlarge the green area and to connect and improve the present green areas by deriving the lines of community greenway using living areas and community spaces close to the life of residence in Nam-gu. The purpose of this paper is to suggest the method of establishing greenway for the formation of community in which the residence can grow the community spirit and love their living space much more. Land-use status, green coverage ratio, and impermeability paving ratio are investigated. The community facilities are classified. The highest is educational facility, which is 7.7%, the green facility is 1.9% and the total area of community facilities which is 21.4%. The total area of Nam-gu is divided into 31 zones in total according to the administrative districts, the mail roads and reserved land of railroad and urban development. The total 20 lines of community greenway lines are chosen and the total length of lines is 18.2km. Finally, the characteristics of community greenway lines are analysed, the characteristics of community greenway lines are overall estimated according to the land-use, the street environment and the community facility. The classification system of community greenway is established on the basis on the function and purpose of greenway, the present status of land-use and the type of community facility. Based on the field investigation, the 6 greenway types are suggested considering the interconnection. The method of establishment of community greenway is suggested according to the principle of function and purpose, the principle of land-use and the principle of use of the facilities. Furthermore, the planting methods suitable to each greenway type are suggested in the building planting case of wall planting, roof planting, veranda planting, etc., and in the complex planting of parks, schools, roads, parking lots and other small areas.

• Journal of the Korean Institute of Landscape Architecture
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• v.36 no.5
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• pp.82-93
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• 2008

This research focused on the process in which 'the same scenery' is recognized and represented as 'a different landscape' to determine the symbols and meaning of the scenery and landscape included in real-scenery landscape paintings of the 18th-19th centuries. As a result of analyzing the visual points, the content and expressions of 25 real-scenery landscape paintings of Chong Seok Jeong(叢石亭), it can be seen that the transmission of a kind of semiotic landscape on the basis of a specific symbol was accomplished naturally through imitation and representation for the purpose of the expression of Chong Seok Jeong-like idealized scenery. This shows that the unique images of Chong Seok Jeong have long been passed down after taking root as a unique benchmark The meaningful symbol of 'a strange Saseonbong(四仙峰)', which is broken by the spray after rising high, and 'a pine forest' have both been transmitted as being in the manner of Chong Seok Jeong. This has been equipped with the stereo-type scene by being a collective symbolization as the psycho-scenes in memory element of Chong Seok Jeong. Through the pictures of both Gyeomjae(謙齋) and Danweon(檀園), the process by which a specific painter's pictures become acculturated is highly interesting. The scenery expressed in these pictures was clearly that of a landscape of which its particularly emotions and remembrances were repainted through the experience of several places and original sketches. This can be explained as the concept in which the image from 'a specific scenery' gained through actual experience, that is, a personal feeling, has been expressed. The picture that was expressed as a different figure even at the same visual point for the same scenery is the result that was redefined through the scenery subject's recognition. Also, the modification of the scenery object can be colorful through meditation and Sachu(邪推: guessing with wicked doubt). The scenery recognized newly through adoption, omission and emphasis, it is 'the specific scenery' in the heart and is a figure having been more similar to 'a landscape' if the objective life reproduction before being acculturated is a figure similar to the scenery. So, the concept looks like being very persuasive that 'the nature with objectivity captured sensuously' simply is the scenery, and that 'the subjective phenomenon having acquired the cultural nature by being introspected in the method of aesthetic nostalgia is a landscape'.

• Journal of the Korean Institute of Landscape Architecture
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• v.40 no.3
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• pp.22-31
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• 2012

This study was prompted by the recognition that the tenn "Community design" has recently been used in diverse practical fields without prior discussion about its underpinnings, a potentially problematic state of affairs. Based on these problems, this study studied the special quality about the concept of community design. Community design can be discussed from two perspectives. The first views community design as a design that concerns the community, an inhabited area populated with people who have common interests, at least in part because of geographic proximity to each other. The second sees community design as a movement that started in the 1960s and places a great importance on democratic decision making, communication, and collaboration. This study will focus on the latter. This branch of community design encompasses an advocacy planning approach, in which design professionals represent deprived communities in their resistance against comprehensive redevelopment. This was associated to the wider social protest movements of the mid and late 1960s. In the 1970s, this branch of community design was developed alongside community design centers, which provided local-level technical assistance to the communities on a number of issues, such as design and planning. The discussion about community design started in earnest from the early 1980s. A review of the literature m community design reveals several characteristics. First, community design deals with the relationship between the physical environment and several aspects of a region, including the social and cultural. Second, it involves community participation, which many scholars believe is the core of community design. Specifically, community design has been characterized by increased participation and democratic debate and decision making. The Third is about communication methods. Since the 1960s, diverse methods had been developed to promote communication effectively. Finally, community design must consider the relationship between designers, who typically value aesthetics and efficiency of form, and the needs of the community with which they are working. Indeed, some scholars believe that this relationship is generally contentious, although the designer can also be thought of as the facilitator of the community's needs. As community design practice becomes more prevalent, a review of the foundation of institution and policy and the role of experts is also needed. The community design movement bas been theorized ex post facto through diverse discussion that has sought to ascribe meaning and direction to its practice. In other words, the relationship between this theory and practice is cyclical. Therefore, this study can contribute to the virtuous circle.

• 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.28 no.3
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• pp.122-130
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• 2010

The Study takes the rivers in Zhouzhuang - traditional Chinese Kangnam watery landscape as the object. The purpose of this study is to grasp the relationships between visual characteristics and the preference. The following is the research process: Firstly, the theoretical study of Zhouzhuang, the traditional Kangnam region in China, is conducted, the watery landscape is taken pictures, and 22 photos are selected. Secondly, in order to grasp the visual preference and landscape characteristics of the watery landscape in Zhouzhuang, 22 pictures and 25 pairs of adjectives are adopted for the questionnaire survey. Thirdly, in order to have a better understanding on the physical properties and effects of physical quantity on the preference, the occupation ratios of buildings and sculptures, natural elements, footpaths, bank revetments and other landscape elements are calculated, and the mean analysis, dispersion analysis and regression analysis are conducted. In order to grasp the landscape characteristics and preference factors, 25 pairs of adjectives are used to conduct the factor analysis. In order to grasp the effects of characteristics of visual factors on the preference, the dispersion analysis and regression analysis are carried out. The results are as follows: From the results of the landscape preference analysis, in the No.22 photo with the top preference, 11 pairs of adjectives, namely, "harmonious-disharmonious", "beautiful-ugly", "rural-urban", "soft-rough", "stable-instable", "romantic-realistic", "cheerful-gloomy", "brilliant-simple", "natural-artificial", "familiar-strange", and "clean-dirty" have positive effects on watery landscape. It can be viewed as the relatively important factor in the visual preference. In terms of the results of visual physical quantity analysis of traditional Chinese Kangnam watery landscape, the landscape with high occupation ratio of buildings and sculptures has positive effects on visual preference. The results of analysis of visual physical quantity and preference show that the preference degree increases as the occupation ratio of footpath area increases. The analysis results of visual characteristics of traditional Chinese Kangnam watery landscape identify four factors, namely psychological factor, cultural factor, condition factor and physical factor. It can be concluded from the results of analysis of the relationships between visual preference and visual characteristics that the return coefficient B of the psychological factor is +0.936. It can significantly affect the watery landscape, so it can be identified as the most important factor among the visual preference factors of Chinese Kangnam watery landscape.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.3
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• pp.14-28
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• 2010

By philological geography method for dismantling and reconstituting Buyeo's Palkyung(扶餘 八景), which best signify the image of ancient city Buyeo's landscape, this research is to demonstrate the fact that the place's inertia of certain historic sites has been passed down as a type of geographic code. Titled poems and retrospective poems about Buyeo's Palkyung and its spectacles and landscapes reveal the fact that the splendid and glorious cultural heritage of Baekje had faded but its traces have remained in the each eight views including Nakhwa-am(落花巖), Goran-sa(皐蘭寺), and Jayong-dae(釣龍臺). In addtion, the spectacles and historic sites of Buyeo's Palkyung appear as the symbol of Baekje's fall and loss in the poems. Thus, it can be said that Buyeo's culture and civilization have never escaped from the cultural and historical scars of Baekhe's fall, being dominated by the place's inertia originated from the identity as "Baekje'slastcapital". It is ironical that Buyeo's future development and prosperity are not free from its cultural and historical spectacles which bear the image of the fall of Baekje. 'Older Buyeos' Palkyung(扶餘舊八景)' and, Prior Buyeo's Palkyung(夫餘前八景), originate from nine views of an unknown builder and after the construction of pavilions and towers, 'Subuk-jeong eight views(水北亭八景)' by Heungguk Kim(金興國) and the eight poems of the, Retrospect of Buyeo(扶餘懷古八景), were created. 'Buyeo's later Palkyung(扶餘後八景), which are especially free from the site's inertia are known to have expanded the scope of Buyeo's landscape by deliberately demonstrating spectacles and sites different from those of existing views. Nakhwa-am, Goran-sa, Joryong-dae, Songwal-dae(送月臺), Youngwal-dae(迎月臺), and Pyungje-tap(平濟塔) are all located within a one kilometer radius of Banwol-sung(半月城), Buyeo's palace and the Baekma river(白馬江), Daewang-po(大旺浦), Busan(浮山) in a two kilometers radius. Jaon-dae(自溫臺), Subuk-jeong(水北亭), and Gyuam-jin(窺岩津) are located within a three kilometers radius. Even Chunjeong-dae(天政臺), which are located within a four kilometers radius of Banwol-sung are located alongside the Baekma river. This indicates the fact that these spectacles had not been established temporarily or impromptu but for a long period time by historic retrospect and the inertia of landscape's geographic cycle. In conclusion, the geographic phenomenon of historical and cultural inertia appeared because Buyeo had the geographic message of "fallen, ancient city". Therefore, Buyeo's Palkyung which have constant retrospective inertia is clearly an geographic code effective and helpful to understand not only the characteristics of historic sites and spectacles of Buyeo in the Sabi period but also the quality of the site itself.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.34 no.3
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• pp.38-49
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• 2016

This study is based on the assumption that the documentations, and poetry form a basis for undertone of the location and original landscape explored by inference and enjoyment aspects; the significance has been inferred by investigating the original location, relocated location, and the original landscape of Imsil Manchwi Pavilion. The results of the attempted research for locational value, and preservation of the original landscape before and after the relocation of Imsil Manchwi Pavilion is as follows. Firstly, Manchwi, meaning evergreen, was made a pseudonym of KimWi. The name reflects an image two evergreen pine trees facing one another. The poetry form presents the eternal fidelity. In addition, considering the symbolic plant and the meaning of evergreen pine trees specified on the pavilion, the name is derived from the fidelity, longevity of the family, vitality and so on. Secondly, Manchwi Pavilion was founded in the location, known as the snakehead form, that represents the vitality. Snake faces the swallow form over the river, therefore, it connotes the wishes for fidelity and prosperity of the family. Manchwi Pavillion is prostrate pheasant form which is suitable for those who look for a hiding place or place for their study. It is noticeable that the location infers and hand down the efforts on succession for prosperity of the family and the study. Thirdly, it is estimated that Manchwi Pavilion was established between 1572 and 1582; and the relocation was conducted in the late 1880s. Fourthly, although eternal fidelity was presented in Manchwi Pavillion with locational language, the Manchwi Pavillion after its relocation next to KimWi's grave implies the tendency of the changed value: the commemoration of the ancestors, and prosperity of the family. Fifthly, after the relocation of the pavilion, the proportion of the rooms with Korean heating system, so-called'Ondol'has been increased for its best use in all seasons. And its veranda for extension and its verse couplet implies that this connote the original meaning and pursuit of the study. Sixthly, the way that the poetry portrays pine trees, pond, plants, valleys, and streams shows the aspect of enjoyment of the landscapes and the meaning of fidelity, pure mind, free and easy life, self-examination, the frailty of human life. Lastly, despite the difference between tenth poetic language of three Sipyoung and Wonwoon Sipyeong, exploring the landscape based on the analysis on the poetry can be a basis on the maintenance and restoration of the original landscape as the inspiration and the meaning show that Wonwoon Sipyeong maintains the aspect of the author enjoying original landscape.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.2
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• pp.30-37
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• 2018

The uniformed regulations for control of the height of buildings owned by individuals to protect landscape of cultural properties are causing serious social conflicts by limiting the development of landowners. It is urgent need of introducing indicators that can resolve such conflicts and evaluate the regulations of buildings, which can satisfy urban development as well as landscape management of cultural properties. Therefore, the purpose of this study is to simulate landscape changes according to the Cultural Heritage Protection Act and National Land Planning and Utilization Act by using Unity3D in the Pungnammun Gate(Treasure No. 308) of Jeonju and its surroundings, where architectural cultural property forms the symbolic landscape of the city. Then some items such as view points, target points were introduced and the quantitative evaluation of landscapes was attempted by applying the indicator of 3D Visual Exposure. As a result, the viewing opportunity and viewing area of Pungnammun Gate were not significantly influenced by changes in landscape according to the two laws. However, the change of the height of buildings by the National Land Planning and Utilization Act, which has the greatest development capacity, confirmed the possibility of weakening the identification of the Pungnammun Gate by increasing 3D Visual Exposure of the background buildings more than two times. Finally, it was confirmed that the skyline of Pungnammun Gate was clearly infringed upon development under the National Land Planning and Utilization Act, but the skyline was maintained similar to the current situation in the regulation by the Cultural Heritage Protection Act. Thus, this study is meaningful in that the application of 3D Visual Exposure showed the possibility of utilization as an indicator for quantitatively evaluating the protection of view on cultural property and skyline according to the changes of building heights.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.38 no.2
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• pp.14-30
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• 2020

This study focuses on the fact that pictorial maps in the late Joseon Dynasty were conceptual diagrams with the place names perceived by the people at the time of their production. In this regard, targeting on five pictorial maps, the humanistic landscape characteristics of Pyongyang, which had cultural identities such as a historically old, commercial, and Pungnyu(appreciation for the arts) city, were derived as follows. First, the historic legitimacy of Pyongyang Castle was represented by ritual and religious facilities. They include 'Dangunjeon' and 'Gijagung' related to the nation founder, 'Munmujeong': the remains of Goguryeo, 'Sajikdan' & 'Pyongyanggangdan': the place of the national rites, Hyanggyo and Seowon: education & rite functions, Buddhism and Taoist facilities, 'Yongsindang', 'Sanshindang', and 'Jesindan': folk religion facilities. Gija-related facilities, which became symbols of Pyongyang due to the importance of Small-Sinocentrism and Gija dignity tendency, were distributed throughout Pyongyang Castle though, the facilities related to King Dongmyeong of Goguryeo and the spaces of religion praying for blessings are spread in Bukseong and on the riverside of Daedonggang each. Second, as a Pyongando Province's economic center, Pyongyang's commercial landscape was represented by logistics and transportation facilities. The Daedonggang River, which was in charge of transportation functions, had many decks such as 'Yangmyeongpo', 'Cheongryongpo' and 'Waeseongjin' and bridges, such as 'Yeongjegyo' and 'Gangdonggyo', which connected major transportation routes. The road network was created in Oeseong area to facilitate logistics transportation and management, and many warehouses named after the jurisdiction of Pyongyangbu were distributed near the roads and Provincial Offices of the main gates. In addition, it was characterized by the urban area systematically divided with hierarchical roads, 'Bukjangnim' of willow trees planted on the main entrance roads of Pyongyang Castle, a linear landscape created by 'Simnijangnim' consisting of mixed forests with elm trees. Third, Pungnyu City is realized by the distribution of amusement facilities. The riverside of Daedonggang adjacent to Naeseong exhibits characteristics of artificial landscape such as a canal leading to the inside of the castle, a docking facility with embankments, and a port with cargo ships anchored. However, Bukseong of the natural surroundings had numerous pavilions and platforms such as 'Bubyeongnu', 'Eulmildae', 'Choeseungdae', 'Jebyeokjeong' and engraved letters such as 'Cheongnyubyeok', 'Jangbangho'. 'Osunjeong', 'Byeogwolji', 'Banwolji' near 'Sachang', and 'Aeryeondang', built on the island of a square pond, created waterscape in Naeseong invisible from the Daedonggang, and for practical purposes, ponds and repeated willow vegetation landscape related to Gija were placed in the western rampart of Jungseong. In addition, 'Seonyeondong', a cemetery of Gisaeng, located near by Chilseongmun, was used as poem titles and themes by literary people, contributing to the creation of the Pungnyu image of Pyongyang.

• Korean Journal of Environmental Biology
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• v.31 no.4
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• pp.322-332
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• 2013

This study was conducted to understand the control mechanism of Sika deer (Cervus nippon taiouanus) populations which are adapted to the natural forest areas and the semi-natural forest areas of Korea. We monitored and analyzed the behaviour patterns and habitat characteristics of Sika deers. After we released 12 Sika deers (male 3, female 9) each at the two study areas in and around Seoul under the approval of Korean government, we monitored them through our survey researchers' naked eyes from May 2011 to January 2012. We discriminated their habitat patterns to 4 major places - eating food place, drinking water place, daytime rest place, and nighttime rest place. Our results showed that Sika deer preferred the open grassland habitats for feeding and resting in daytime but the closed bushland for their protection and sleep. We also found the recommended sex ratio of adult male to female in a herd was 1 : 4~9 for breeding and they had few cubs in a herd. The average amount of food for 1 adult deer was 391.62 kg of fresh grasses and 286.90 kg of hay per year. Our results suggest that the amount of drinking water required for a deer when grazed on grasses during spring and summer seasons is 256.8 L and when a deer feeds on dry food during autumn and winter seasons, 209.8 L of water is required. From these results, we observe that the amount of drinking water was affected substantially by the moisture content of their food. This observational study must be very valuable for land managers to judge the number of deers that should be released in natural areas without high risk and to ascertain the sex ratio of large mammals including Sika deer. Therefore, we conclude that this population control mechanism study consists of efficient basic data and their values must be very effective for various purposes.