• Korean Journal of Heritage: History & Science
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• v.52 no.1
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• pp.22-43
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• 2019

Mureung Valley was designed as a place of scenic beauty. It was called a utopia because of its unexplored regions. Many people traveled to this place and wrote poetry and prose describing it. It represented a culturally historic site and an example of the changing of cultural spaces. Mureung Valley was one of the nameless valleys in Duta Mountain, but "Mureunggye" was named by Kim Hyon Won, who was a governor of Samcheok.. The valley acquired a reputation for many people's visiting. It was a famous space because local residents liked the place, and famous people also loved the place. This place was adapted into a cultural place with a link to the immortal world and an educational place by people's travel stories. The place maintained a reputation until now and took center stage as a famous travel space. One of the reasons it became a place of famous scenic beauty is travel. People who travel to Mureung Valley created poetry and prose containing their excitement and travel stories. As the poetry and prose had esthetic images of Mureung Valley, people understood the place. The poetry and prose showed the meaning of the place and the changing process. These codified the reputation in the place. Mureung Valley was pointed out in one of the Cheokju-Palkyoungs. However, Mugye-Palkyoung (only for Mureung Valley) was made. It was understood as the most beautiful scenery in the place and it had the meaning of the ethics place which embodied Neo Confucianism. Mureung Valley has a great natural landscape and cultural history background. That is how this place of scenic beauty was created.

• Journal of the Korean Institute of Landscape Architecture
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• v.38 no.2
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• pp.119-129
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• 2010

This study concerns the design strategy for the waterside of Gyeong-In Ara Waterway, Korea’s first constructed canal. This design focused on the creation of a new paradigm for waterway landscapes the major factors of which were geographical advantage, value of landscape and efficient approach. As the major space plan for the waterfront formed through the Gyeong-In Ara waterway from the Yellow Sea to the Han River, eight good views of the waterfront zone were designed by utilizing the waterway as a scenery viewpoint and, by constructing two traffic lanes for the scenic parkway connecting Incheon and the Gimpo terminal, both a linear greenway as well as various waterfront facilities were also designed. A boardwalk and bike path connecting the major theme parks were planned, and a waterfront pocket park was then organized based on the bike path. In this study, the result of the new waterfront result from the Gyeong-In Ara waterway was planned to have an identity as a new waterside culture space in order to achieve multiple functions including environmental, cultural, leisure, and tourism as well as management programs based on a variety of applied culture content and story-telling.

• Journal of architectural history
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• v.32 no.5
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• pp.81-94
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• 2023

Haeju was home to the Hwanghae-do Provincial Office and a hub for supporting the northwestern regions of Korea. Local commerce expanded in Haeju during the late Joseon period based on its abundant resources and regional products, leading it to evolve into a large city. King Seonjo temporarily resided in Haeju while seeking refuge from the Japanese Invasions of Korea, and Yi Yi (sobriquet: Yulgok) secluded himself in Seokdam in Haeju in his later years. King Seonjo's residence in Haeju and Yi Yi's retirement there boosted interest in the city among the literati and influenced its places of scenic beauty. The development of its local history and literary achievements were documented in a wide variety of historical records and visual materials. Eight scenic views in Haeju became famous through a poem written by Seong Su-ik in the late sixteenth century. Around the mid-eighteenth century, eight new scenic views became popular. Local officials and travelers from other regions produced a vast body of prose and poetry focusing on the landscape and society of Haeju, playing a crucial role in raising awareness of its scenic attractions. Most surviving visual materials related to Haeju were created in and after the nineteenth century. Many of them illustrate both landscapes and the everyday lives of people. Among them, paintings of scenic spots created by Jeong Seon (sobriquet: Gyeomjae), who never actually visited Haeju in person, raises some of the issues posed by relying on indirect materials. In contrast, Eight Scenic Views of Haeju, which is presumed to have been produced by a local painter, appears to have accurately highlighted the characteristics of each scenic spot. Moreover, Haejudo, a folding screen presenting a panoramic view of Haeju, incorporates content from paintings depicting eight scenic views, in this case Eight Scenic views of Haeju. This practice can be observed in visual materials of other provincial cities.

• Journal of the Korean Institute of Landscape Architecture
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• v.37 no.2
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• pp.90-103
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• 2009

The poem 'Kyungjusipiyung(慶州十二詠)' written by Seo, Geo-jeong(徐居正) describes sentiments felt for the ruined historical and cultural landscape of Silla's capital city, Kyungju. It differs from the existing 'Eight Sceneries(八景)' as it conveys the strong metaphorical aesthetics of ruins as the episodes and figures are sung, as well as the myths and stories related to the representative holy places of the Silla culture: Gyelim(鷄林), Banwolseong(半月城), Najeong(蘿井), Oneung(五陵), Geumosan(金鰲山), the scenic beauty of deep placeness, Poseokjeong(鮑石亭), Mooncheon(蚊川), Cheomseongdae(瞻星臺), Boonhwangsa(芬皇寺), Youngmyosa(靈妙寺) and Grave of the General Kim Yu-Sin(金庾信墓). Compared with the former "Eight Sceneries" Poems, including Seo Geojeong's 'Kyungjusipiyung', there is a difference in the content of theme recitation, as well as in structure and form, especially with the deep impression of the classical features of the meanings and acts. The sequence of theme recitation seems to be composed of more than two visual corridors visited during trips that last longer than two days. The dominant emotions expresses in this poem, through written in the spring, are regret and sadness such as 'worn', 'broken and ruined', 'old and sad', without touching on the beauty of nature and the taste for life that is found in most of the Eight Sceneries Poems. Thus, the feelings of the reciter himself, Seo, Geo-jeong, about the described sceneries and their symbolism are more greatly emphasized than the beauty of form. The characteristic aspect of his experiences of ruins expressed from 'Kyungjusipiyung' is that the experiences were, first of all, qualitative of the aura conveyed; that is, the quality omnipresent throughout the culture of Silla as reflected in the twelve historical and cultural landscapes. In this poem, the cultural ruins of the invisible dimension such as the myths and legends are described by repetition, parallelism, juxtaposition, reflection and admiration from the antiphrases, as well as the civilized ruins of the visible dimension such as the various sceneries and features of Kyungju. This seems to be characteristic of the methods by which Seo, Geo-jeong appreciates 'Silla' in the poem 'Kyungjusipiyung'. Ruins as an Aesthetic Object imply the noble pride of Seo, Geo-jeong in identifying himself with the great nature of ruins. In 'Kyungjusipiyung', the images of the ruins of Silla and Kyungju are interspersed in spite of his positive recognition of 'the village of Kyungju' based on his records. However, though the concept of ruins has a pessimistic tone connoting the road of extinction and downfall, the aspect here seems to ambivalently contain the desire to recover and revive Kyungju through the Chosun Dynasty as adominant influence on the earlier Chosun's literary tide. The aesthetics of the scenery found in Seo, Geo-jeong's 'Kyungjusipiyung' contain the strongest of metaphor and symbolism by converting the experiences of the paradoxical ruins into the value of reflective experiences.

• Korean Journal of Heritage: History & Science
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• v.55 no.4
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• pp.212-240
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• 2022

This study is a multi-layered exploration of 「The Thirty-Six Scenery of Seongdeok Summer Mountain Resort(承德避暑山莊三十六景)」 (The 36th view of Kangxi) recited by Emperor Kangxi of China through literature study, ancient calligraphy diagrams, and field studies. The conclusion of tracing the landscape characteristics and implications contained in 「The 36th view of Kangxi」 through the analysis of the headword(標題語) and the interpretation of the Jeyeong poem(題詠詩) is as follows. 「The 36th view of Kangxi」 is an extension of the outer edge of the Eight Sceneries, and when compared to the existing Eight Sceneries peom and Eight Sceneries painting, it is found that the landscape is centered on the 'viewpoint' rather than the landscape object. In particular, it aimed to create a structured landscape centered on nine types of buildings represented by 'Jeon(殿)' and 'Jeong(亭)' was given. In particular, Yeouiju, located in Lake district, is a scenic country endowed with the character of a gardens in Garden, which is composed by collecting famous representative Chinese landscapes and landscapes of Sansu-si and Sanshu Painting. As a result of headword analysis to understand the characteristics of landscape components, 14 landscapes (38.9%) related to water elements and 13 landscapes(36.1%) related to mountain elements, the elements related to architecture and civil engineering were classified in the order of 3 cases(8.3%), and the elements related to the skylight were classified in the order of 2 cases(5.6%). However, in Jeyeong-si, the mention of landscape vocabulary for climate elements was overwhelming. In other words, in the poems of 「The 36th Scenery of Kangxi」, scenery vocabulary symbolizing 'coolness' such as 雲(cloud), 水(water), 泉(spring), 清(clear), 波(wave), 流(wave), 風(wind) and 無暑(without heat), etc. It is not a coincidence that it appears, and it is strongly attached to the sense of place of Summer Mountain Resort in Rehe(熱河). Among the 23 landscapes whose seasonal background was confirmed, the fact that the lower landscape is portrayed as the majority and the climate elements of the resort area are portrayed in three-dimensional and multi-dimensional ways are closely related to the period of enjoying the gardens of Kangxi, the main subject of the landscape. In addition, many animal and plant landscapes appearing in Jeyeong-si appear to be in the same context as the spatial attributes of not only recreation, but also contemplation and hunting. On the other hand, in Jeyeongsi, there are 33 wonders(91.7%) citing famous people and famous books through ancient poems, old stories, and ancient stories tends to be prominent. It is inferred that this was based on Kangxi's understanding and pride in traditional Chinese culture. In 「The 36th view of Kangxi」, not only a book-writing description of the feelings of being entrusted to the family sutras, but also the spirit of patriotism, love, self-discipline and respect for mother and filial piety are strongly implied. Ultimately, 「The 36th view of Kangxi」 shows the real scene of the resort, as well as the spiritual dimension, in a multi-faceted and three-dimensional way, and the spirit of an emperor based on the dignity of the royal family and the sentiments of a writer it deserves to be called a collection of imperial records that were intended to reveal.

• The Safety technology
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• no.200
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• pp.21-23
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• 2014

충북 단양은 우리나라에서 대표적인 산수(山水)의 고장으로 꼽힌다. 남한강과 소백산이 만들어낸 단양팔경은 국내에서도 내로라하는 관광명소다. 그야말로 도시생활에서 지친 몸과 미음을 치유할 수 있는 최적의 장소인 것이다. 하지만 그동안 단양을 찾는 이들에게는 조금의 불편함이 있었던 것도 사실이다. 단양IC에서 단양역까지 이르는 도로는 남한강(충주호)을 끼고 있어 최고의 절경을 볼 수 있는 드라이브 코스로 유명하지만 왕복 2차선에 불과해 주말, 휴가철에는 병목현상이 빈번했기 때문이다. 또 그만큼 교통안전 여건도 좋지 않았다. 이런 문제점들은 2016년 4월이면 완벽히 해소될 전망이다. 쌍용건설이 이 구간을 4차선으로 확장하는 건설공사를 한창 진행하고 있기 때문이다. 쌍용건설은 이룰 통해 도로이용자들의 교통안전을 확보하고, 지역 균형발전에 이바지한다는 계획이다. 때문에 이곳 현장에서는 무엇보다 안전을 최우선 가치에 두고 있다. 이곳의 안전관리가 어떻게 전개되고 있는지 찾아가 봤다.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.2
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• pp.27-41
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• 2014

This study aims to investigate the history, cultural values prototype through literature analysis, characteristics of construction, location, space structure and landscape characteristics by Arc-GIS on the Munam pavilion(聞巖亭) in Changnyeong. The results were as follows. First, Shin-cho((辛礎, 1549~1618) is the builder of the Munam pavilion and builder's view of nature is to go back to nature. The period of formation of Munam pavilion is between 1608-1618 as referred from document of retire from politics and build a pavilion. Secondly, Munam pavilion is surrounded by mountains and located at the top of steep slope. Pavilion was known as scenic site of the area. But damaged in a past landscape is caused by near the bridge, agricultural facilities, town, the Kye-sung stream of masonry and beams. Thirdly, Munam pavilion is divided into the main space, which is located on the pavilion, space in located on the pavilion east and west and the orient space, which is located on the Youngjeonggak. Of these, original form of Munam pavilion is a simple structure composed of pavilion and Munam rock, thus at the time of the composition seems to be a direct entry is possible, unlike the current entrance. Fourth, Spatial composition of Munam pavilion is divided into vegetation such as Lagerstroemia indica trees in Sa-ri in Changnyeong, ornament such as letters carved on the rocks and pavilion containing structure. The vegetation around the building is classified as precincts and outside of the premises. Planting of precincts was limited. Outside of area consists of front on the pavilion, which is covered with Lagerstroemia Indica forest and Pinus densiflora forest at the back of the pavilion. Ofthese,LargeLagerstroemiaIndicaforestcorrespondstothenaturalheritageasHistoricalrecordsofrarespeciesresourcesthatareassociated withbuilder. Letterscarvedontherocksrepresenttheboundaryof space, which is close to the location of the Munam pavilion and those associated with the builder as ornaments. Letters carved on the rocks front on the pavilion are rare cases that are made sequentially with a constant direction and rules as act of record for families to honor the achievements. Fifth, 'The eight famous spots of Munam' is divided into landscape elements that have nothing to do with bearing 4 places and landscape elements that have to do with bearing 4 places. Unrelated bearings of landscape elements are Lagerstroemia indica trees in Sa-ri in Changnyeong, Pinus densiflora forest at the back of the pavilion, Okcheon valley, Gwanryongsa temple and Daeheungsa temple. Bearing that related element of absolute orientation, which is corresponding to the elements are Daeheungsa temple, Hwawangsan mountain, Kye-sung stream and Yeongchwisan mountain. Relative bearing is Gwanryongsa temple, Yeongchwisan mountain and Kye-sung stream Gongjigi hill. At Lagerstroemia indica trees in Sa-ri in Changnyeong, Pinus densiflora forest at the back of the pavilion, Kye-sung stream and Okcheon valley, elements are exsting. Currently, it is difficult to confirm the rest of the landscape elements. Because, it is a generic element that reliable estimate of the target and locations are impossible for element. Munam pavilion is made for turn to nature by Shin-cho(辛礎). That was remained a record such as Munamzip(聞巖集) and Munamchungueirok(聞巖忠義錄) that is relating to construction of pavilion. Munam pavilion located in a unique form, archival culture through the letters carved on the rocks and Large Lagerstroemia indica forest and through eight famous spots, cultural landscape elements can be assumed that those elements are remained.

• Journal of the Korean Institute of Landscape Architecture
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• v.36 no.1
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• pp.90-102
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• 2008

This paper has aimed to determine how the Suwon Palkyong(水原八景: eight scenic wonders) were formed and the implicature of landscape, such as implicit intention and symbolic significance. For this, the significance and symbolic meaning of the Suwon Palkyong from the time of the 'Hwaseong Chunchu Palgyeong(華城春 秋入景)' have been investigated in order to determine the political and social arguments in Suwon Palkyong that surrounded the formation process and meaning. The 'Hwaseong Chunchu Palkyong' contains a variety of significant elements and factors of Pungmul(Korean drum & dance) as well as formative elements such as a castle. Plantings for beautiful scenery and water use for flood control have also been major elements in the development of Hwaseong. Therefore, it seems that the 'Hwaseong Chunchu Palkyong' is a catchphrase for the future image of the urban landscape. Most Suwon Palkyong sites such as Paldalsan, Namje, Yungneung, Manseokgeo, Chukmanje, Hwahongmun, and Yongji(a pond in Banghwa Suryujeong) are related to the 'Hwaseong Chunchu Palkyong'. 'Gwanggyo Jeokseol(光敎積雪: the landmark mountain, Mt. Gwanggyo with snow)' and 'Paldal Cheongnam(八達晴嵐: Mt. Paldal with shimmering air)' have also been added to Suwon Palkyong. Suwon Palkyong is either directly or indirectly related with water including the origin of Suwoncheon(水原川), an artificial reservoir for flood control and irrigation and Bibopungsu in Yungneung(隆陵), as well as the source of water for rituals after the death of King Jeongjo(正祖大王). Based on Suwon Palkyong, therefore, it can be said that water is a decisive medium in connecting old Suwon with Hwaseong New Town and essential element in the natural landscape. In conclusion, while Hwaseong is a 'Designed Landscape' that was created with a specific intention during the reign of King Jeongjo, the 'Hwaseong Chunchu Palkyong is a 'Desired Landscape' that envisioned a future landscape while Suwon Palkyong is an 'Evolved Landscape' related to the business affairs of the citizens. To completely restore Hwaseong, whose value and importance have been recognized internationally, therefore, the fundamental restoration of a cultural landscape as well as the restoration of the original form of the Hwaseong landscape including Suwon Palkyong is essential.

• Journal of the Korean Institute of Landscape Architecture
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• v.26 no.4
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• pp.25-35
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• 1999

This thesis is to newly understand the value and the meaning of Chonju Palkyong(全州八景) by the specific gravity in making a counter-proposal in other to improve the landscape identity of modern city and at the same time. I intended to group the grafting device for the preservation and regeneration of modern history cultural environment through the interpretation of landscape construction. The meaning system of Chonju Palkyong showed the symbolic system which a landscape construction, four directions and two places has and exhibited the landscape shape possessing a luxuriant local feature peculiar to Chonju, preserving visual bound language of a classical Palkyong. Especially, it implies the use of the substantial landscape experienced factor, the expressions about natural phenomena and the matter which has melted human living circumstances. The landscape construction and it's form show the system which forms the different time field, a far landscape and a mid distance landscape and a near landscape, etc., under the visual, psychological, scenic influenced area, preserving the feature of the similar and typical type of Sosang Palkyoung（瀟湘八景) which intended to seek the local reappearance of the famous site experienced type and natural matter which famous place and local conduct were combined. The object space of Chonju Palkyong area representing the nature of historical landscape cultural assets, pushed by the greater part of the development based theory, shows injured aspects, but needs to play a part to seek such a up-to-date successive plan as the reconstruction of the destroyed historical landscape area which motivated Palkyong, the establishment of useful area, the embodiment of the cultural identity of Palkyong area and the becoming of the educational cultural life space. The analysis of the landscape construction of Chonju Palkyong and the grouping of the modern successive plan which I considered in this thesis, will be able to become a fundamental data to carry out the preservation of historical landscape and the landscape plan in the city.

• Journal of Korean Society of Rural Planning
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• v.15 no.3
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• pp.61-79
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• 2009

This study discusses developing ecological trails and route alignment in mountainous rural area. Through a process of ecological resources survey, ecological trails and route alignment has been established. Mainly, by focusing on ecological resources in rural areas, it was indifferent to their own ecological resource and charm to make it unique strengths. Based on survey the results, Natural ecology resources, there were the climate factor, surface, geological, terrain analysis. Furthermore, ecological resources were researched and analyzed the elements of it, distribution of resources, types, location, semantic analysis. The results are expressed on the map and recorded by taking pictures. Plant ecosystem, there were actual vegetation, land use, flora analysis. Wild animal ecosystem, it was checked and recorded on 1/1,000 map partition the emergence of wild birds, the number of species distributed by foraging guild, the emergence of amphibians, reptile, mammals and insect species. The site is chosen as rural theme village in 2007, base on their own rich ecological and landscape resources. Therefore, we carried out ecological trails and route alignment plan in accordance with analyzed the natural ecological resource and after setting up the basic goal, ecological trail has been composed and planting has done and direction.