• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.2
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• pp.46-53
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• 2018

The background of this study was to consider regenerative environmental characteristics and develop foundations for conceptual grounds and applications in embodying sustainable garden designs demanded in our age. In doing so, this study aimed to have a conceptual understanding of Clement's garden theory influenced by Robinson's naturalistic distinction and compared it with Robinson's wild garden, and the results are as follows: First, for Clement, garden design included an ecological process to settle in the target site as aesthetics of space being formed by the movement of plants. In this sense, making a 'garden in motion' implies to design possibilities to adapt to nature based on trust in it and allow plant seeds not to be planned but to naturally go and find appropriate habitats. Second, the views to wildness can be separated into microscopic and macroscopic views and each has its own expressive characteristics. Robinson's gardens are small and subordinate and play mollification functions for existing spaces. On the contrary, Clement's gardens are the subject of the space, represent macroscopic strategies, and have top-down approaches embodied as infrastructure to play central roles in the ecology. Third, Robinson's and Clement's views to the operation of garden spaces acknowledge the inseparable relationship between nature's autonomy and gardens' wildness and deliver a value that the preservation of nature is a prerequisite to coexistence with the life we desire. Their gardens are analogized by interventions of environmental possibilism and ecological standpoints mediated by plants based on the perspective of environmental determinism.

• Korean Journal of Environment and Ecology
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• v.26 no.4
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• pp.604-619
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• 2012

According to the concept of woodland aesthetic in Germany and forest design in United Kingdom, artificial forest should be restore ecologically step by step in National Park, Korea. This study was carried out to provide the density criterion of thinning for the inducement of the ecological succession by analysing of vegetational structure in Artificial Forest, National Parks. Eleven plots(size is $20m{\times}20m$) were set up in the artificial forest such as Pinus koraiensis forest, Abies holophylla forest, Chamaecyparis obtusa forest, Populus tomentiglandulosa forest, and Larix kaempferi forest and in the natural forest such as Pinus densiflora community, Pinus densiflora-Quercus serrata community, and Quercus serrata community in Chiaksan, Songnisan, Deogyusan, and Naejangsan National Parks, Korea. We classified the artificial forest into undeveloped type of succession, type of alien young trees developing, and early phase type of succession based on the vegetational structure. According to the index of Shnnon's diversity(unit: $400m^2$), undeveloped type of succession was ranged from 0.9681 to 1.1323, type of alien young trees developing was ranged from 1.0192 to 1.1870, early phase type of succession was ranged from 1.3071 to 1.3892, and natural vegetation was ranged from 1.2202 to 1.3428, therefore early phase type of succession forest and natural vegetation are more higher than simple-layered artificial forest with one needle leaf tree species. The limit for the step-by-step thinning was in the range of 30~60%. In case of undeveloped type of succession, we should thin out from large trees throughout three phases, because alien species dominated high value 88~90% in canopy layer. In case of type of alien young trees developing, we should thin out from alien young trees such as Populus tomentiglandulosa throughout one or two phases, because alien species dominated high value 60~97% and young trees with saplings growing up in understory and shrub layer. In case of early phase type of succession, we should thin out from alien trees that compete with native species throughout one or two phases, because alien species dominated less than value 30%.

• The Journal of Art Theory & Practice
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• no.10
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• pp.47-61
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• 2010

What is Art on the street? Is it a series of artworks or activities performed on the street? In other words, does "art on the street" refer to "Street Art" such as street performance, happening, graffiti, or wall-painting, or does it refer to "Street Furniture" which is related to "City Design" or "Environmental Design"? In a formal sense, they all belong to Art on the street. However, in this paper, I would like to use Art on the street in an even broader sense. To me, " the street" is a metaphor of "environment." Thus Art on the street is the art related to environment; it is an environment art. Art on the street attests the expansion of the concept of art and shows a new possibility of contemporary art. It is a promising new concept of art, but we cannot ignore the misapplication of the concept that we can find at the crossroad of Art on the street and "city beautification." Of course, Art on the street can and sometimes needs to beautify the city. However we still need to ask how to contribute to the city beautification with Art on the street and how to validate such a practice. City space is, most of all, a space that people live in. It sounds a cliche, but it is worth repeating to better understand Art on the street. When we consider the city space in terms of its system or organization, we often overlook that it is the space in which people live, and which people create. Art on the street concerns not the city itself, but the space in which people live and make relations for each other. Without taking this into account, Art on the street becomes a mere means to' embellish' the city and falls prey to the logic of capital. In this paper, I critically reviewed the problems such as City Development, Spectacularization, City Environmental Design, Public Interest and City Museum. I intended to emphasize that Art on the street is produced in the cultural space of city, but it also tends to break the mold of the cultural space and seeks a new possibility. Some might argue that my claims are unrealistic because Art on the street is not an idea but a practice. While humbly accepting the objection, I hope my critical suggestions guide a more productive direction to continue our discussions of Art on the street.

• Korean Journal of Heritage: History & Science
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• v.46 no.4
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• pp.48-63
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• 2013

The results of the study on the space planning and landscape design of Unjoru(雲鳥樓) through the 'Jeolla Gurye Omidong Gado(全羅求禮五美洞家圖)' drawn using GyeHwa(界畵) technique are as follows. First, 'Omidong Gado' is believed to date back to the period when Unjoru(1776~1783) was established for the following reasons: (1) The founder, Yoo-IJu(柳爾?), sent the drawing for the house while he was serving as the governor of YongCheon county(龍川府史). (2) It shows the typical dwelling houses' space division and its location is in a good spot with mountain in the back and water in front(背山臨水) and there is every indication of scheme drawing. (3) Front gate was changed and remodeled to a lofty gate in 1804. Second, Nogodan & Hyeongjebong of Jiri Mountain sit at the back of Unjoru, and faces Obong mountain and Gyejok mountain. In addition, the Dongbang stream flowing to the east well illustrates the Pungsu theory of mountain in the back and water in the front. Third, the house is structured in the shape resembling the character 品, divided into 5 areas by hierarchical order in the cross line from all directions. The site, which includes the outdoor yard and the back garden, consists of 5 blocks, 6 yards and 2 gardens. Fourth, the outdoor yard with aesthetical value and anti-fire function, is an ecological garden influenced by Confucianism and Taoism with a pond (BangJiWonDo Type, 方池圓島形) at the center. Fifth, the Sarang yard(舍廊庭) is decorated with terrace garden and flower garden, and the landscaping components such as oddly shaped stone, crane, plum, pine tree, tamarisk tree and flowering plants were used to depict the ideal fairy land and centrally placed tree for metaphysical symbolism. The upper floor of Sarangchae commands distant and medium range view, as well as upwards and downwards. The natural landscape intrudes inside, and at the same time, connects with the outside. Sixth, pine forest over the northern wall and the intentionally developed low hill are one of the traditional landscaping techniques that promotes pleasant residential environment as well as the aesthetics of balanced fullness.