• Journal of the Korean Institute of Landscape Architecture
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• v.22 no.3
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• pp.13-27
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• 1994

본 논문에서는 1) 지금까지 이루어진 광장선호연구를 토대로 광장 설계시 이용될 수 있는 12가지 설계지침을 제시하며, 2) 광장선호를 진화 이론의 틀에서 분석한 사례연구를 소개하고 있다. 12가지 광장설계지침은 1970년부터 지금까지 이루어진 광장형태연구들로부터 제시되었으며, 광장 의 위치, 규모, 시각적 특질, 활동, 미기후, 경계설계, 부공간설계, 동선설계, 식재설계, 휴식공간설계, 음식, 조형물설계 등에 관련한 고려사항을 포함한 다. 광장선호를 진화이론에서 분석한 사례연구는 Appleton의 조망과 은신 이론(prospect and refuge theory)을 분석의 틀로 이용하며, 3개 광장에서 의 이용행태 관찰을 바탕으로 한다. 구체적으로 각 광장의 앉는 장소 (sitting area)가 가지고 있는 조망(prospect) 특성과 은신(refuge)특성을 분석하고 이러한 특성들이 사람들의 선택선호도(앉는 장소로서의)와 관련 성이 있는가를 살펴보고 있다. 연구결과를 보면 광장의 성격이 완전히 공 공적(public)일 경우만이 전반적인 선호행태가 조망(prospect)과 은신 (refuge) 특질과 관련되고 반공공적(semi-public)이나 사적(private)일 경우 에는 Appleton의 이론으로 선호행태 설명이 불가능함을 알 수 있다.

• The Journal of Sustainable Design and Educational Environment Research
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• v.22 no.1
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• pp.1-12
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• 2023

With the possibility of preventing crime through environmental design, CPTED guidelines have been introduced and applied to various places. However, although guidelines may be a useful design tool, there are also limitations to referencing it in the early conceptual phase of school architecture. Therefore, the purpose of this study is to examine the concept of "prospect and refuge", which serves as the basis of CPTED, and derives architectural characteristics and application methods based on the concept. For the case study, this research selected six small to medium-scale elementary schools with outstanding creative ideas built within the last 10 years. The results showed that the spatial characteristics of the "prospect" can be achieved by organizing the three-dimensionality of the space, vista prospect, and design attention on circulation areas. The concept of "refuge" was realized through the segmentation of the mass and spatial enclosure. Although the subjects had different social conditions and educational directions in Korea, this study may be used as a theoretical framework for designing a safe school environment.

• Journal of the Korean Institute of Landscape Architecture
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• v.40 no.2
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• pp.49-63
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• 2012

The popular landscape paintings in Jaseon Dynasty had become the prototypes of the paradise of people and played the essential role in making the typical types of garden in those times. The representative types of the paintings include , , and etc. They made ways to produce the typical types of Joseon landscape gardens such as 'Dowon Type Gardens', 'Gugok Type Gardens', 'Prospect Type Gardens' and 'Gilji Type Gardens' etc. The types of garden above showed their landscape characteristics corresponding with the types of painting respectively. The 'Dowon Type Gardens' mostly located at the mountain valley showed enclosed landscape suited for refuge it corresponds with the composition of . The 'Gugok Type Gardens' mostly located at the long and winding valley composed of sequential sceneries with open and enclosed views corresponding with the composition of . The 'Prospect Type Gardens' located mostly m the hilly sites holds open views contrasting with the earlier types, and activated with the influence of . The 'Gilji Type Gardens' influenced by extended their territory beyond the main garden and made the vicinity areas, including the whole village, a paradise in respect with feng shui. Most of the garden types in Joseon Dynasty have alternated the bipolar characteristics of Prospect and Refuge in time and area respectively.

• 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.