• Journal of the Korean Institute of Landscape Architecture
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• v.30 no.2
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• pp.1-11
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• 2002

The purpose of this study is to investigate landscape image and define elements of difference in visual preference of bridges on the Han River. To do this end, video was used as a media for the evaluation of the landscape image of 16 bridges on the Han River using a Semantic Differential scale. Data is collected by 50 students from Woosuk University, majoring landscape architecture. Final analysis utilized a total of 704 samples of data. Data is analyzed through descriptive statistics, and spatial image is analyzed by factor analysis algorithm Principle component analysis using Varimax method is applied far extraction and factor rotation. T-test is used to find the difference between the bridge type of preference with the data of factor score. Logistic regression is used to select the factors that influences the visual preference among the image factors. The results of this study can be summarized as follows; The image of whole bridges on the Han River is somewhat orderly, sequential and open. The degree of visual preference of unique bridge type is higher than normal but there are some differences in visual preference within the same type of structure. This suggests that the surrounding landscape is one of the important factor for visual preference. Factors covering the image of bridge are found to be 'aesthetic',　'structure','spatial factor', and 'shape'. Total variance is obtained as 60.4%. The aesthetic variables are the most important factor for visual preference and the structural factor presents no significant difference in visual preference between more preferred and less preferred bridges. Since the collapse of Songsu Bridge, we thought the structural factor is very important but the results of this study suggest that it is more important to consider the aesthetic and spatial factors of the bridge to increase the visual preference when planning and designing bridges. Simulations with more detailed data about surroundings should be utilized practical design.

• Journal of the Korean Institute of Landscape Architecture
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• v.37 no.4
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• pp.22-31
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• 2009

In this study a landscape evaluation was carried out for the submission of a natural landscape conservation plan with the intention to prevent damage to natural landscapes through incautious exploitation. In the case of Korean landscape evaluation, in fact, only the aesthetic value of the landscape is evaluated as related to development projects but the ecological relevance of the landscape cannot be estimated by evaluating only the aesthetic. For that reason, this study performed a landscape evaluation, including the sensitivity limit of visible scenery and the diversity of ecological scenery. For the intention of landscape evaluation in the designation of an essential conservation area and for devising a plan related to this area, a GIS applied to Ian McHarg's map overlay method was used and both the ecological landscape diversity and the aesthetic value of the landscape was surveyed using this map overlay method. A region can be analyzed in relation to the needs for concentration of management in influence analysis of landscape effect elements.

• Journal of the Korean Society of Environmental Restoration Technology
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• v.17 no.1
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• pp.65-79
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• 2014

This study selected Nakdong River basin zone in Daegu as an example area to conduct landscapetope classification and aesthetic value assessment of landscape according to the classified landscapetope. The main result of this research can be summed up as following. First, the result of landscapetope type classification showed 28 types of landscapetope including complex residential area (AA), natural stream type with copious vegetation (BA), forest type centered on mixed forest of soft and hardwood (EB) along with 129 types of imputed specific landscapetope. The result of the total first assessment using B-VAT showed the first grade 10 types, II grade 4 types, III grade6 types, IV grade 3 types, 5 types for V grade with the lowest value. The second assessment conducted toward the landscapetope types with the grade higher than the average (including III grade) in the result of the first assessment showed that there are 66 spaces for the sites (1a, 1b) with special meaning for aesthetic landscape evaluation. And also, there were 69 spaces for those (2a, 2b, 2c) with meaning for aesthetic landscape evaluation. The design model of this research is largely divided into improvement goal and specific execution plan. First, the improvement goal is divided into 6 categories including conservation area, complementary area, and restoration area, and the specific execution plan is divided into 14 categories including special landscape management area, general landscape management area, conservation of hill areas with optically good condition. A comprehensive master plan was suggested by directly applying the set landscape planning model to the subject place of this research.

• Journal of the Korean Professional Engineers Association
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• v.45 no.1
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• pp.49-53
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• 2012

It has been a common misconception that landscape architecture is a gardening, landscape gardening or planting. However, landscape architecture is entirely different from gardening, landscape gardening and planting when it comes to professional category. Landscape architecture is a interdisciplinary science to improve a quality of citizen's life through analysing social culture, psychological configuration, aesthetic characteristic and integrating them in human society. Today's landscape architecture is a interdisciplinary technology including ecological and artistic value to create most of outdoor space used by human through preserving nature and enhancing the environment. The field has been changed constantly in the flow of the period and social development as providing green network system, recreation area, ecological environment in the city.

• The International Journal of Costume Culture
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• v.13 no.2
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• pp.154-159
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• 2010

Various decorative patterns and sculptures found in antique architectures like palace architecture and temple architecture are not only valuable assets of our culture but have religious meaning at the same time and show aesthetic aspiration and desire of Korean people. In this study, potential application of patterns in textile industry is suggested based on the reconstructed and patternized geometric patterns of window grids, a decorative element in architecture, and stair and stair somaetdol, a architectural element in Buddhist temples, using Photoshop and Illustrator program of Adobe INC AND Tex-pro program of Youngwoo CNI INC. All around the world today, efforts to reinterpret unique and antique architectures and cultural assets in a modern way has been increasing. Decorative patterns displayed in Buddhist temple architectures which are antique Korean architectures have excellent geometric aesthetic value. And the development potential of patternizing these elements into modern designs is high. Therefore, it is thought to be possible to develop high value-added fabric and to develop various fashion items including apparel and interior decoration based on modern reinterpretation of patterns of window grid and decorative elements of stairs and stair somaetol that are part of our antique architectures.

• Journal of the Korean Institute of Landscape Architecture
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• v.34 no.1 s.114
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• pp.59-68
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• 2006

This paper examines the conceptual shift of wilderness and its legacy to the contradictory view of nature in landscape architecture tradition. In hunting and gathering societies, there was no dichotomy between the cultivated environment and wilderness. 'Wilderness' is a word whose first usage marks the transition from a hunting-gathering economy to an agricultural society. We can identify two archetypal responses to wilderness: classical and romantic. In the classical perspective, wilderness is something to be feared-an area of waste and desolation. The conquest of wilderness and the creation of usable places is a mark of civilization. For the romantics, in contrast, untouched wilderness has the greatest significance; it has a purity that human contact tends to sully and degrade. Wilderness for the romantics is a place to revere, a place of deep spiritual significance, and an object of aesthetic experience. In the Western world, the classical position predominated until the last two hundred years when the romantic concept began to gain more ground. The shift was made possible by the change in the way nature is understood. Modernity and modern science objectified nature. The transition of the concept of wilderness exemplifies the objectification and pictorialization of nature. Wilderness in the modern era is not different from the pastoral landscape which can be controlled by landscape architects.

• Korean Institute of Interior Design Journal
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• v.22 no.3
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• pp.61-69
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• 2013

The conventional boundaries between art and technology are being torn down by the development of science in the 21st century. It is fulfilling the convergence to emphasize two-way communication. This research is to study the aesthetic experience of the space design which appeared in the playful space of art and technology. The purpose of this study is to analyze the expression and characteristics of the art and technology applied for the playful space, to present the intrinsic value of aesthetic experience, and finally to focus on the necessity of aesthetic experience in modern society. In the Playful space of art and technology, research methods and settings of the range to study the aesthetic experience are as follows: First, establish a theoretical consideration about the concept and characteristics of the aesthetic experience, based on Philosophical theories. Second, analyze the meaning of art and the expression elements and characteristics by using technology. Third, discuss the concept of play and features of aesthetic experience in the playful space. Fourth, investigate analysis of the case studies, focused on the architecture and space design announced through the media recently. Finally, proposes the value for the applicability of aesthetic experience that appears playful space works affect us. I saw the aesthetic experience that appears playful space independent reaction and lead to behavioral changes and physical experience to maximize the effectiveness of participation. and it is to maximize a pleasurable experience, while increasing the commitment to participate in the space. Expressions using art and technology are activated by stimulation of the emotional experience, creating a new aesthetic experience. In the modern, the new environment is being created by the convergence of art and technology and it stimulates the imagination of art. Also, it has been newly regulated the meaning of human emotions and consciousness in the new space, surrounded by technology.

• Journal of the Architectural Institute of Korea Planning & Design
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• v.34 no.4
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• pp.11-18
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• 2018

The beauty is like the bubble of beer, and behavior scholars have been regarded as worthless to study. As a result, the aesthetic in construction projects has resulted in underestimation or neglect. The fundamental cause of this result is that it is not easy to estimate the value of the aesthetic. The hedonic calculus by Bentham has a possibility to valuating the intangible or invisible goods. In this context, this study proposes a method to valuate architectural aesthetic based on the hedonic calculus by Bentham. As a precondition for suggesting the valuation method, this study defined the architectural aesthetic as the value of attraction that affects the value of the built environment. As the concept of beauty that conforms to the architectural aesthetic, it has established the concept of beauty as 'the phenomenon of combining the foreground and background of Hartmann'. In addition, the scope of the value measurement is defined as 'built environment' so as to include not only the building but also the surrounding environment. We have reinterpreted the seven dimension of the hedonic calculus proposed by Bentham and systematized the method of valuation of the architectural esthetic based on the seven dimension. The result of this study is meaningful in that it presents a new perspective and approach to architectural aesthetic. And it will be used as grounds for valuation and analytical approach to architectural aesthetic and will be used as a basis for expanding the field of study from aesthetic to value.

• Journal of the Architectural Institute of Korea Planning & Design
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• v.36 no.3
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• pp.13-20
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• 2020

The purpose of this study is to analyze the fuzzy pattern that is reflected on the inside of the value evaluator in measuring the economic value of architectural aesthetic using the fuzzy-contingent valuation method. The main results of analyzing the relationship between architectural aesthetic and fuzzy patterns by typing 307 fuzzy patterns collected from visitors at Dongdaemun Design Plaza are as follows: First, low levels of architectural aesthetic can be a primary cause of extreme refusal of payment. However, it was confirmed that the extreme refusal of payment could partially involve mentality of free-ride on public goods or mentality that would not give value to past events that are not future. Second, if the architectural aesthetic score is 77.5, the most perfect form of fuzzy pattern is formed. It is confirmed that the fuzzy form, which is the standard in the relationship between architectural aesthetic and money value, is made at 77.5 points. This means that it is most efficient to have 77.5 points of architectural aesthetic to secure balanced data by membership in the study of architectural aesthetic value measurement through fuzzy pattern. Third, according to the architectural aesthetic score, respondents can be interpreted as follows: no monetary willingness arises before or after 52.4, starts to respond to the amount before and after 65.6, severe conflict over payments around 70.6~71.7, stronger willingness to pay around 77.6, want to pay for sure around 80.0.

• Journal of the Korea Furniture Society
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• v.20 no.5
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• pp.504-516
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• 2009

Korean traditional architecture has been carried out in the manner that it harmonized surrounding natural environments and never disturbed them in the scale which did not overwhelm the nature, based on the view of architecture predicated on Yin Yang School. The exposed grain of the wood like pillar, hinge and house rafte, the linear expression of the construction material and the formation between the window and door monopolizing the front side presented a harmony with the nature showing the linear structure. Furthermore the ceiling is low due to the sit life style thanks to the ondol (Korean under-floor heating system and the furniture was made in simple manner to utilize the space as large as possible, for the interior was narrow and close, and also the furniture placing in the middle of the room was movably manufactured to improve the room space. Like this Korean traditional furniture was close associated with the low height and simplicity and harmonized with the blank of the wall accordingly, and it characterized linear & planar natural beauty focusing on the simple and refined unique beauty, because it was made in a good harmony with the interior utensils. This study has presented that the organic characteristics of Korean traditional aesthetic of architecture and the natural beauty being intrinsic in traditional furniture have a mutual relation on the basis of not only the visual recognition, also the aesthetic of naturalism made of the natural material, the constructional naivety as a frame method and the linear & planar formative beauty shown in appearance.