• Journal of the Korean Institute of Landscape Architecture
• /
• v.52 no.3
• /
• pp.1-17
• /
• 2024

This study focuses on the landscape architect Jung YoungSun to examine Korean landscaping. To do so, the research focuses on the artist's thoughts, her and Seoan's works, and related discourse (landscape architects, landscape works, and landscape discourse) up to 2014. Research was conducted through interviews (with Jung and related people), a literature survey, and the analysis of design works. As a result, four inflection points of Jung's landscape architecture career emerged, from the time she was introduced to landscape architecture, trained in it, and entered into practice, to the time she operated an independent office, showing different design trends and the depth of design thinking. In this process, excluding the early learning period, Jung's landscapes were categorized into three categories: contemporary landscapes, gardens, and traditional landscapes. Through these three categories of landscaping activities, Jung's achievements include the importation and internalization of modern landscapes (modern landscape theory), the establishment of her own garden theory and its practice (garden theory), and overcoming of tradition complexes and creative succession (traditional landscape theory). In sum, Jung's landscapes can be summarized as the practice of regionalists and auteurist thinking.

• Proceedings of the Korean Institute of Landscape Architecture Conference
• /
• 2023.10a
• /
• pp.72-73
• /
• 2023

• Proceedings of the Korean Institute of Landscape Architecture Conference
• /
• 2014.10a
• /
• pp.7-10
• /
• 2014

• Journal of the Korean Institute of Landscape Architecture
• /
• v.24 no.2
• /
• pp.62-73
• /
• 1996

본 연구는 환경예술운동의 선구자격이며 가장 대표적인 작가로 평가되는 로버트 스미슨의 작품에 대한 연구를 통해 그의 경관미학의 개념화에 대하여 고찰해 보고자 하였으며 궁극적으로 본 연구가 환경예술운동이 현대 조경설계에 미친 영향에 대한 기초 연구라는데 본 논문의 의의를 찾고자 한다. 스미슨의 작품이 조경에서 다루는 경관의 여러 가지 관점을 다루었으며, la국을 중심으로 조경설계에서 공간의 시각적 표현을 시도한 몇몇 조경설계가의 작품배경 또한 환경예술로 불리어지는 일련의 작품군과 작가의 주장에 많은 영향을 받았음에도 불구하고 그의 작품이 조경분야에서 연구의 대상으로 활발하게 다루어지지 못한 것도 사실이다. 본 연구에서는 스미슨의 경관미학의 개념화를 그의 작품을 통해 살펴보았으며, 스미슨의 작품과 조경설계와의 연관성, 그리고 현대 조경설계에 미친 스미슨의 공헌등을 조명해 보았다. 스미슨의 초기작품들은 개발로 인한 환경 및 경관의 남용 혹은 황폐화에 대한 비평적인 관점을 예술적 형태로 묘사한 반면, 후기 작품들에서는 환경 및 경관에 대한 예술적인 조작에 긍정적인 가치를 부여하고자 한 것이었다. 스미슨의 작품이 현대 조경에 미친 가장 큰 공헌은 무엇보다도 경관 및 환경의 변화에 영향을 미치는 수단으로서 예술을 활용했다는 것일 것이다. 환경예술가들의 주장과 그들의 작품이 현대 조경설계에 구체적으로 어떻게 형상화되었는지에 대한 연구는 앞으로 규명되어야 할 부분이라고 판단된다.

• 프린팅코리아
• /
• s.70
• /
• pp.84-87
• /
• 2008

• Journal of the Korean Institute of Landscape Architecture
• /
• v.49 no.1
• /
• pp.70-82
• /
• 2021

The purpose of this study is to reveal the tendency of planting design through the analysis of the planting of designer's gardens in the Suncheon Bay National Garden and to derive implications for future garden planting designs. The results of the study are as follows: First, the results of the study show that the practice of tree-based planting is still valid. Large growing trees such as 'Pinus densiflrora', 'Celtis sinensis', 'Zelkova serrata', 'Machilus thunbergii', 'Pinus strobus' overwhelmed the size of the designer's garden(150 to 390㎡). Second, the selection of trees tended to be made considering the designer's intention and the decorative effects rather than by considering the physiological and ecological conditions of the site. Third, among the herbaceous, the rate of the planting of perennials was high. Fourth, the flowering period of planted herbaceous was the most common in summer, followed by spring, fall, and winter. Fifth, the frequency color of the planted herbaceous was the most common in summer, followed by spring, fall, and winter. Fifth, in terms of flower color frequency, the most common was the yellow-series, followed by red-series, blue-series Sixth, average height herbaceous plants(20~60cm) were planted the most(47.4%). Seventh, structural plants that determined the garden's framework depended on trees, and the focal plants mainly utilized were evergreen trees, and the midrange plants were the planted herbaceous plants. The implications derived from the above findings are as follows: First, to ensure the garden's quality and sustainability, the selection of trees should be carefully considered, not considering only the artist's intention but also taking into account the physical and ecological conditions. Second, herbaceous plants can be used in various ways― the garden's focal plants, midrange plants, and ground covers, so more active herbaceous planting needs to be considered. Third, in consideration of the winter landscape, herbaceous planting using characteristics, such as fruits and stems, as well as flower colors should be considered. Fourth, blue and black color herbaceous plants have a noticeable effect even in a small amount, so it is necessary to plant them actively. Fifth, for the design of herbaceous planting, where the individual property of plants can be expressed, the design method should be considered.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.49 no.3
• /
• pp.29-39
• /
• 2021

This study interpreted a traditional garden of Korea through reception aesthetics. The 'gap' of acceptable aesthetics is found in the 'distance that occurs between writers and readers'. This study aims to interpret this gap between what the writer intends and what the reader expects. Boundaries do not limit traditional spaces in Korea and, therefore, are not limited by characteristics. These characteristics were studied from the perspectives of the author, the work, and the reader. The aspect first looked at the life and ideas of the gardener, the second analyzed the form and structure of the garden, and the last examined writings, from the past and present, of those who appreciated the garden. From the author's perspective, Sosoewon was understood as a garden that embodied the philosophy of Yang Sanbo. Second, the duality and indeterminateness were recognized as two characteristics of this work; artifacts in the garden were arranged in a natural form, and the gardens have indefinite boundaries, so they can be freely expanded and reduced. Finally, from the reader's perspective, it was noted that the beauty of this garden is enhanced through poetry, painting, and writing. Thus, historic gardens of Korea can be open spaces where the meaning of the garden is enriched through the free participation of viewers based on their own ideas.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.36 no.6
• /
• pp.1-11
• /
• 2009

This study focuses on Abstract Types in Contemporary Landscape Design. The formation and artistry of contemporary landscape design reveals many areas which Previously have not been able to be expressed in scenic landscape thanks to the deviation of the genre in contemporary landscape and the hybridization that has occurred among architecture, landscape and art genres. The focus of this study is basic research concerning "the abstract", which is used as a creative artistic theory in a variety of art fields such as landscape, architecture and painting. Through a theoretical establishment of "the abstract", its process of change, and the discovery of its contemporary principles, the relationship between each art field in landscapes and the formation of the abstract, abstract language, and abstract properties have been studied. The use of the abstract in contemporary landscape design can be classified in three ways: Inductive abstract representing conceptual transcendental symbols not logically but rather through intuition and transcendental cognition to display the inner expressions, ideas and minds of the artists. Second, a deductive abstract represents an expansive, logical model for the simplification of objects, distortion, exaggeration based on knowledge and logical reasoning about objective fact based on traditional realism. The complexity of the abstract is a concept that is bound to both the deductive & inductive abstract. As a major trend, the concept of "The abstract" in contemporary landscape has been putting forth ever-deeper roots. New trends like abstract works and landscape architecture reflecting the artist's inner expression, in particular, will provide fertile soil for landscape in the future. Further research about the concept of "the abstract" will also be necessary in the time to come.

• Korean Journal of Heritage: History & Science
• /
• v.56 no.2
• /
• pp.282-294
• /
• 2023

Efforts are being made internationally to pay attention to the landscape value of modern and contemporary heritage and to pass it on. However, in Korea, the registration of modern and contemporary landscape heritage as registered cultural properties is insignificant. There has also been little discussion on ways to improve the system in this regard. This study sought ways to improve the registration criteria and classification system of the registered cultural property system so that modern and contemporary landscaping heritage could be protected. Currently, the registration criteria for registered cultural properties are not stipulated for each type of heritage, but are stipulated as a single comprehensive standard. Registration criteria should be separately prepared so that the landscape value of the heritage can be reviewed. First, the registration criteria have an important value in understanding the development of landscape culture. Second, well-preserved landscaping reflects or characterizes the times. Lastly, it should be defined as related to the works of major artists or important figures or historical events. The classification system must match the studied building cultural property classification system, and the detailed types of modern and contemporary landscape heritage should be specified. The major classification follows the building cultural property classification system, but parks and green spaces, squares, and gardens, which can be called a single landscape heritage, should be added to the middle classification. Landscaping heritage, such as gardens combined with building heritage, shall be specified in the subcategory based on building use.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.45 no.3
• /
• pp.41-53
• /
• 2017

This study was performed to determine what the plant material were selected to reflect in the 2016 Korea Garden Show designer's garden. It was analyzed that plant material was used to display the theme of the garden and to create a specific space. Under the given theme of 'K-Garden, Shinhallyu Garden(new style garden culture) with the most Korean taste', the plants were used to highlight the theme in two types: 'representation' and 'expression'. There were two 'representation' gardens that imitate a particular space of Korean taste and four 'expression' gardens that showcase the designer's thoughts with abstract concepts and concrete objects. Three gardens included both types of garden. The way of revealing the subject with plants was used more for 'expression' than for 'representation'. There were eleven spaces for 'representation' of the Korean taste, a vegetable garden, faucet, pond, field, nature, a Hanok court garden, groves of bamboo, tile roof, stone wall, rock and backyard of a Hanok connected to the mountain. The planting material was used in two ways: reflecting only the ecological characteristics of the plant, and considering the ecological and visual characteristics together. Vegetation plantings reflecting the ecological characteristics were observed in all eleven spaces. Nine of the spaces reflected the growth environment of the plants, but the other two did not reflect the ecological characteristics of the plants, unlike the designer's intention. In the case of the four spaces that considered the ecological and visual characteristics together, color and size were considered visual characteristics. The plants in the seven spaces that included 'expression' as the theme were selected to reflect the visual characteristics in the order of color, shape, texture, and size, rather than reflecting ecological characteristics. A group planting method was applied. When the plants were used as materials for creating space, Norman(1989) analyzed three enclosure factors(overhead, vertical, ground plane). Only two deciduous trees were used in the overhead plane while five species of evergreen shrubs and thirty species of various deciduous plants were used in the vertical plane. There were forty-five species (nine trees and thirty-six herbaceous plants) forming the ground plane, and various herbaceous plants were utilized without duplication in each garden. The designer's garden of the Garden Show played a role in introducing new groundcover plants to the public. Three of the nine gardens did not include ornamental plants, and the use of decorative plants in other gardens was few compared to the number of plantings. In the Korea Garden Show designer's garden, most of the plants were being used with the intention of exposing the theme or architectural uses. In the 2016 Korea Garden Show designer's garden, many species of plants were used as materials for showcasing themes rather than for creating spaces. Also, the method of 'expression' was used more than the method of 'representation' in order to highlight the theme. This indicates that the planting materials reflect visual characteristics such as color, shape, texture, size rather than ecological characteristics.