• Journal of the Korean association of regional geographers
• /
• v.18 no.1
• /
• pp.42-54
• /
• 2012

Since people have set up their lives in the Jirisan(Mt. Jiri) for a long time, there are various historical remains and religious and livehood landscape left. Jirisan has been a sacred ground and the base of livelihood and culture, with both of which Jirisan provides a new concept of a mountainous cultural landscape. Jirisan has long been resided there while hallowing it as a spiritual mother mountain. Various historical remains including mountain fortresses from the period of the Three States and ancient tombs from the Gaya age are left in Jirisan. Namakje which is a religious ritual for the mountain spirit has been conducted until today. Numerous cultural heritages have been preserved in Buddhist temples. The continuously prevalent Buddhism in Korea has helped maintaining the living cultural tradition of Jirisan. In addition, Jirisan has various extraordinary features including history, religion, culture, livelihood forms its own mosaic landscape.

• Journal of Korean Society of Rural Planning
• /
• v.16 no.4
• /
• pp.1-11
• /
• 2010

This study has intended to evaluate rural subjective landscape through participation of residents and visitors according to space types, and to perform comparative analysis of evaluation results between residents and visitors. This study has employed a survey method for which 58 residents of 8 villages within Seondong region at Gochang-gun and 70 visitors to Green Barley Field Festival in the target region have participated. 42 landscape view points were selected according to landscape scopes and space types, and then the preference was evaluated using landscape adjectives after showing pictures already taken for each landscape view point. This study has found the following results. First, whereas residents gave high points to natural landscape and artificial one at the historical culture areas in comparison with other landscape scopes, visitors gave them low points on the other hand. Second, visitors evaluated the cultivated area among space types of mixed landscapes with high value. Third, based on t-test for comparative analysis, the statistically significant differences of evaluation results appeared at 6 places among 8 natural landscapes, 3 places among 12 artificial landscapes, and 3 places among mixed landscapes.

• Journal of Korean Society of Rural Planning
• /
• v.22 no.1
• /
• pp.25-35
• /
• 2016

This study targets Korean culture theme park in Yeongju-Zone and World confucian scholar culture park in Bonghwa-Zone among the Three Major Cultural Areas Projects supervised by Ministry of Culture, Sports and Tourism. The study analyzes the Historical and Cultural Authenticity of each project on the basis of the reports and the report materials for meeting with related organizations. The results of the study are drawn as follows. First, through the theoretical consideration, this study drew the types of authenticity: originality, identity, specificity and visibility, which are evaluation items on the Historical and Cultural Authenticity. Second, Bonghwa-Zone succeeded in acquiring originality with tangible cultural properties but Yeongju-Zone chose a project site without it. Third, with originality, Bonghwa-zone was evaluated as having resources and concept with high traditional culture connectivity and fulfilled identity. It led the feature showing the high affinity between originality and identity. Fourth, compared to the projects of Andong-Zone in the Three Major Cultural Areas Projects, these two projects failed to acquire the distinctions since the primary and the secondary influence area and major facilities & programs coincided with those of the projects of Andong-Zone. Fifth, compared to Bonghwa-Zone, Yeongju-Zone realized visibility faithfully by the conceptual flexibility of "Korean Culture" and a large-scale development. Sixth, in terms of the Historical and Cultural Authenticity of project plan, it is evaluated that Yeongju-Zone and Bonghwa-Zone only fulfilled visibility and specificity respectively.

• Journal of Environmental Science International
• /
• v.13 no.2
• /
• pp.109-116
• /
• 2004

Nagan walled town is located on an axis connecting symbolic places, which is a lucky place from the Fengshui point of view because a mountain sits to the rear and a body of water sits to the front. It represents the environmental development of cultural space by blending folk belief, religion, social systems, adminstration facilities and living culture buildings. Therefore, it has a sustainable cultural view connected with a formed or formless religious view and an artificial view (walls, government buildings, living houses, cultivated lands, etc.) in a natural landscape. Environmental design techniques, enlarging the meaning and value of living on a mental level, can be found in the arrangement of space composition and settlement of Nagan walled town. The organised spaces of government and residential areas were constructed within the wall with the view of searching for lucky places (from best, better and good places) in order to construct ecological networks according to the outlooks of space and settlement.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.31 no.1
• /
• pp.1-12
• /
• 2013

Korea's traditional Sokgasans(a artificial rock mountain) are elements of our excellent rock garden culture that have been inherited from Goryeo Era to Chosun Era. This study is to analyze how the culture of Sokgasans in the Goryeo and the Chosun Eras has been has been representated the implications and inherited in terms of historical aspects. Korea's traditional Sokgasans, which were created in the Goryeo Era by imitating the landscape of mountain ranges, created a small artificial mountain made of oddly shaped stones, imitating a real mountain. People in those days would reproduce mountain landscapes through a miniaturization technique, enjoying the pleasure of deep mountains and valleys as they lay on their gardens at home while having an aesthetic experience of the landscape that supported their emotional stability and healing. The inner side of these Sokgasan was intended to represent the world of the Taoist hermit with miraculous powers in terms of utopia, expressing 5 Ak mountains(Song Shan, Taishan, Huashan, Heng Shan and Hyeong Shan) where the mountain of 3 Gods(Youngju, Bongrae and Bangjang) wishing for 'No aging and living long' and idea of the Taoist hermit with miraculous powers are concentrated beyond the beauty of form in the landscape itself. In addition, people could refine their minds by practicing the Confucianist lesson of loving the mountain and water by watching the Sokgasan and imitating 'Famous mountains and lakes" from China and they had been changed and advanced embracing various implications in inner side of Sokgasans. Korea's traditional Sokgasans not only made it possible for people to experience aesthetic landscapes as a practical element of the scenery but also had deep symbolic implications that go beyond their formal beauty and were sublimated as an ideational space of unlimited imagination.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.38 no.2
• /
• pp.77-94
• /
• 2020

Gugok poems were an important material for studying the Gugok landscape garden(九曲園林). the landscape feature(景物)that emerges from poetry is an important material that expresses the sense of placefulness and garden consciousness(園林意識). However, many studies are passive about plant materials that can explore the perception of nature or the aesthetic embodiment process. Therefore, this study seeks to discover various symbolic meanings and reveal the context of plants that have appeared in Gugok poems in order to expand the research material of the Gugok culture. To carry out the purpose of the study, I collected a total of 25 related poems from 18 Gugoks and found a total of 20 species of trees. I used 'R-program' to derive the meaning of trees and examined the meaning of trees by intertextuality. According to the study, the 20 species of trees contained symbolic meanings of world of Taoist hermit, pursuit of study, constancy, true pleasure, dignity, honest poverty, reign of peace, nostalgia. Many species focused on the symbolism of the 'world of Taoist hermit' and then on the 'dignity' was the most frequent. A number of species, except for the peach, zelkova and oak, had multiple meanings. Among them, pine trees and lotus had a wide range of symbolic meanings and different meanings depending on the characteristics of the surrounding landscape. While the Gugok culture generally targets natural scenery, Yongsan, Toegye, Deoksan, and Jusan showed the characteristics of strengthening or reproducing symbolic meanings through artificial plating and gardening. In order to overcome the limitations of the peach tree, which symbolizes 'Mureungdowon(武陵桃園)', Gugok poems used maple trees and reeds as alternative species. In accordance with the above context, the trees appearing in the Gugok poems expressed their symbolic meaning differently according to the landscape features, acts and purposes of the Gugoks, rather than sticking to the traditional meaning.

• Journal of the Korean Institute of Illuminating and Electrical Installation Engineers
• /
• v.24 no.2
• /
• pp.1-8
• /
• 2010

In this study, students in twenties of fill people who has been living in Daegu were surveyed to landscape lighting on Dongdaeguro to investigate the awareness of residents. As a result, the factor that most influenced to the night landscape lighting is the 69.2[%] to the highest and the image of Daegu city is education and culture were the highest. Need to focus on the Daegu landscape design is 'nature harmony' is the highest. The greatest and the poorest effect in the night scenery is 'lighting' and lighting conditions and brightness were negative.

• Journal of the Korean Institute of Rural Architecture
• /
• v.22 no.3
• /
• pp.25-32
• /
• 2020

The purpose of this study is to understand what Le Corbuiser has intended on a panoramic landscape view through his modern architectural design. This paper is willing to improve that he considered both natural and local landscape scenery, when he designed architecture with drawing images. He designed various ways to see outside scenery and community culture through ribbon windows, piloti, architectural promenade, picture frame, and rooftop garden as the angle of view inside the building, 'designed landscape panorama' from his architecture. Therefore the contents of the study include the analysis of the local landscapes shown through his architecture by photograph, drawing of a real scenery, and his sketches with biology to find what he has intended. The following conclusions have three points. First, Le Corbuiser has a basic idea to bear a natural and local scenery from his architecture through five points of new architecture. Second, pilotis, ribbon windows, and roof garden with picture frame and architectural promenade are pathways of his architecture to see 'designed landscape panorama'. Third, it comes from his early architecture like Villa Savoye in 1920s to Couvent de Sainte Marie de la Tourette in 1950s, but Ronchamp church converts his idea on previous thoughts.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.27 no.4
• /
• pp.50-58
• /
• 1999

This study was carried out to investigate the growth characteristics and propagation methods of L. obtusiloba as a woody landscape plant. The results are obtained as follows: L. obtusiloba was dioecious shrub and shaped with bush type. Leaves were ovate, obtuse, cordate, 7.05 cm long, 7.20 cm wide, and petiole 2.0 cm long. Flowers of L. obtusiloba were diclinous. Soil acidity ranged from pH 4.06 to 5.53 with the lowest at the Mt. Soo-Ri. Mt. Soo-Ri located near factory district, which was considered to damaged by environmental deteoration. While soil organic matter was highest at Mt. Soo-Ri, inorganic nutrients were low. L. obtusiloba grows in the area with low soil acidity and low content of inorganic. Therefore it seemed to be tolerant to air pollution. L. Obtusiloba was high seed germination rate in the plug box and its shoots were longer than seeding box and softwood cutting of L. obtusiloba showed the rooting rate of 50% at 5,000ppm on June 23. To develop a mass propagation method of Korean native L. obtusiloba through an axillary bud culture as a woody landscape plant, about 2∼3 cm shoots induced from explant were subcultured to new media contained different growth regulators. Shoots multiplied most effectively on a WPM containing 1.0 mg/l BA, producing 5.5 shoots with a shoot length of 2.5 cm per shoot explant.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.24 no.3
• /
• pp.79-95
• /
• 1996

The traditional gardens of China were constructed on the basis of the common aesthetic consciousness between designers and users. As designers and users communicated each other through the medium of garden, they give suggestions to our design and appreciation of modern landscape architecture. The traditional gardens of China pursued to reach the state of Yi Jing(意境), and this state formed the keynote of the whole field of Chinese culture. Yi Jing is the aesthetic theory originated in Pre-Qin Era, and established in Tang-Dynasty. After this, this theory become the very important aesthetic category of Chinese aesthetics. Yi Jing is the process from conception to appreciation, and requires the three parts of designer, a work of art, and appreciator. To reach Yi Jing, designers must be well grounded and persevere in their efforts. They also had to have the ability of corresponding the inner order of environment and landscape, and expressing their own feelings and emotions into gardens. So ultimately, they were in pursuit of constructing the gardens as if something naturally created. The garden itself is the meeting place of designers and users. The space in which users can think of life, nature, history, and cosmos. In order to do this, designers design the real landscape and non-visual landscape. This design can give appreciators more fertile imagination. Appreciation perfects the Yi Jing of gardens. Yi Jing is created by co-work of artist and appreciator with common aesthetic consciousness and sense. Therefore, it is subjective, and it may be vary with man and time.