• Journal of the Korean Institute of Landscape Architecture
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• v.41 no.2
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• pp.1-10
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• 2013

This paper aims to make an aesthetic inquiry into representing modes of wilderness in western films. The western film was the first genre in earnest about natural landscape, covering vast areas of America from the East to the West. It adopted representative modes suited to physical characteristics of landscapes which produced aesthetic characteristics. In western films, wilderness was represented at a distance from the camera lens as a setting and an object of contemplation. In eastern forest landscapes, western films adopted the visual model of Hudson River School's landscape painting which expressed the transcendental sublime. The western semiarid region reproduced the warrior's gaze shot from a high angle, and, in this visual mode, wilderness was expressed as a demonic landscape derived from Burke's definition of the sublime. On one hand, the western desert was represented as a place of hardship shot at a low angle which expressed the vastness, unevenness and limitlessness of the desert owing to the absence of horizon. On the other hand, the mesas of Monument Valley have sublime characteristics of size and time. In western films, they play the role of an emblem by rising from the limitless desert on the horizon. The prospect-refuge relationship, the desire to see without being seen, is discovered in the representative mode of wilderness in western films. In this context, this study hopes to discover the archetype of landscape representation.

• 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.51 no.3
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• pp.37-53
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• 2023

This study aimed to analyze the commemoration characteristics of the national war memorials made by the United States, the Union of Soviet Socialist Republics(the Soviet Union), and Germany that participated in World War II(WW II). The results of the study are summarized as follows. First, the creation of the WW II memorials of the United States, the Soviet Union, and Germany aimed to commemorate the dead and victims. By country, the United States promoted unity and victory with representing the just and great cause for freedom, and the communist Soviet Union emphasized the Great Patriotic War that defeated fascist Nazi Germany. On the other hand, Germany, which had difficulty in national commemoration, cherish the victims of the war and aimed for peace. Second, WW II memorials were located in places of national significance such as national representative places and battlefields, and in Germany they were built in church cemeteries and public cemeteries. In addition, it showed concise and moderate aesthetic characteristics with a symmetrical and formal form centered on the axis of space in memorials. Third, the United States and the Soviet Union commonly visualized the appearance of war on the memorial wall. By country, the United States engraved sacrifice and dedication for freedom, and differently the Soviet Union and East Germany engraved messages promoting communist ideology as memorial texts. As for landscape details and sculpture, the United States emphasized national unity through eagles symbolizing the country and a colonnade representing each state and territory, and the Soviet Union set up a communist-style soldier sculpture. The United States and the Soviet Union, both countries used sculptures and laurels that symbolize victory, but in Germany, the statues of a fallen soldiers were installed in the memorial. Politically, the United States commemorated the victory of the war and also promoted unity, and the Soviet Union emphasized the Great Patriotic War and promoted communism. As the United States, the Soviet Union, and the Germans believed in Christianity universally, Christian symbols such as the crucifixion, the church, and the statue of Evita were often used. Further study will be required to establish national identity at memorials and advanced commemorative culture in Korea.

• Journal of the Korean Institute of Landscape Architecture
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• v.42 no.4
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• pp.10-20
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• 2014

This study was carried out for the purpose of analysis correlations between street furniture design elements and preference of street furniture. This research analyzed the various street furniture set on Ilsan new town street, which are rest, hygiene, light, information, sale, traffic, and landscape. This study has processed by analysing street furniture literature investigation and consideration of theory. First, for analysed effect of street furniture element, has been appear as element 'relaxation facilities', 'information facilities', landscape facilities' mainly effect on street. Specially, 'rest', 'landscape', 'information' in order had a major influence on scenery. Each kind of 'chair elements' in rest facilities, 'sign board' in information facilities, 'sculpture', 'fountain' in 'landscape facilities' has analyzed as the main elements in the landscape affinity property affecting factor. Second, the results of analyzed landscape elements (shape, colour, texture, scale) affect to the affinity of street furniture. chair which are included in rest facilities affect "texture", "form", "scale", "color" in the order of preference of the molding design elements that influence landscape. Particularly, showed statistically significant on 'colour' element affecting the landscape preference than the other three elements. It means as the chair element which is rest facilities mainly affect on preferences, rather than texture, form, scale, colour. Monument in the landscape associated with a preference 'colour', 'shape', 'texture' 'scale' and appears to be in order of impact so we could get the consequence like chair and rest facilities show different aspects of the respectively. It means, visual element which are colour and shape significantly impact on landscape preferences. Third, information facilities such as signboard formative elements of landscape design preferences and correlation with negative showed that the correlation. That mean if the sign board is very negative influence on landscape preferences and the correlations of the design formative elements appear in order of 'scale', 'colour', 'texture'. It also means that the 'scale' namely the size of advertising material and colour are adversely affected in terms of landscape. As these results, when design street furniture as the street scenery, facilities according to the kind of the shape element and need to focus on relative shape element according to the kind of facilities difference. Finally, so far as to clarify the street furniture, mainly 'function' and 'system' classification shows undesirable in outdoor scape. Thus, performed studies in relationship with landscape, classify 'kind of facilities' is more desirable than 'system'.