• Journal of the Korean Institute of Landscape Architecture
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• v.46 no.5
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• pp.59-68
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• 2018

This study deals with post-occupancy evaluation (POE) of 'Kim Gwang-seok Street'as storytelling road for urban regeneration. The evaluation focused on image preference and use satisfaction of visitors. This is the initial project of popular singer-storytelling street as a new attraction, and the results could be used as basic data for the sustainable planning and management of storytelling streets. 200 respondents of visitor group were analyzed. Frequency analysis for demographics, use, behavior, reliability, and means, were evaluated. Factor analysis and multiple regression analysis were conducted for image preference and use satisfaction. Responses showed high frequency of twenties in age, who were typically students. In use motives and activities, strolling, sightseeing, and taking pictures were shown to be the most common. The mean scores of image variables showed symbolic (5.03), familiar (4.84), beautiful (4.71), and bright (4.63), the highest. The result of exploratory factor analysis, led to 3 factors being categorized; the mood of street, the design, and the dynamics. Due to the result of multiple regression analysis, the preference of space image was significantly influenced by 4 image variables; symbolic (${\beta}=.314$), stable (${\beta}=.248$), friendly (${\beta}=.204$), and fresh (${\beta}=.142$). In the use satisfaction analysis, the mean scores were highest concerning facility design (3.81), typical street (3.78), the image of street (3.81), continued use (3.66), and experiential tourism (3.53), respectively. The mean score of parking space (2.56) was the lowest. In factor analysis concerning use satisfaction, 3 factors were categorized; facility management, experience, and image. By the result of multiple regression analysis, the total satisfaction of use was significantly influenced by 4 independent variables; image of street (${\beta}=.296$), management (${\beta}=.277$), continued use (${\beta}=.205$), and typical street (${\beta}=.183$). As storytelling road for urban regeneration, 'Kim Gwang-seok Street' has shown considerable success in significant improvement of image preference and user satisfaction. Therefore, the enhancement of 'placeness' through storytelling of Kim Gwang-seok, and the strengthening of its identity and symbolism, should be the basic focus of development for the street in the future.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.1
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• pp.46-56
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• 2012

The research results of tracing the Landscape Philosophy of Hageowon garden(何去園) in Musu-dong, Daejon of Youhwadang, Kwon, Iijin(權以鎭, 1668-1734) is as below. The ideological background of the protagonist reflected in Hageowon is the Hyoje Ideology(filial piety and brotherly love, 孝弟) of Sinjongchuwon(painstakingly caring for one's ancestors), Musil ideology(pursuing ethical diligence and truthful mind, 務實) based on sadistic tradition and ethical rationalism, Confucionist Eunil Ideology(ideology on seclusion, 隱逸) of Cheonghanjiyeon(quiet relaxation, 淸閒之燕), and the Pungryu ideology(appreciation for the arts, 風流) of Taoism in the Taoist style. Thus, by substituting these ideological values into a space called Hageowon, the Byulup gardens(別業) such as the Symbolic garden(象徵園), meaning gaeden(意園), and miniascape garden(縮景園) were able to be constructed. 2) The space organization system of Hageowon is generally classified into three phases considering the hierarchy. The first territory is the transitional space having residential features, which is an area to reach peach tree - road(Taoist world 桃經) from Youhwadang(有懷堂). The second territory is a monumental memorial space where the Yocheondae(繞千臺), Jangwoodam(丈藕潭), Hwagae(花階), and the ancestral graves take place, centering on the yards of Sumanheon(收漫軒), and the third territory is the secluded space in the eastern outer garden where the mountain stream flows from the north to south and which is the vein of the left-hand blue dragon(靑龍) of the guardian mountain of Hageowon. 3) Symbolically, the first phase has symbolized the space as a meaningful scenery by overlapping the Confucionist place of Youhwadang - Gosudae(孤秀臺) - Odeokdae(五德臺), and the mystic world of Jukcheondang(竹遷堂) - peach tree - road(桃徑). The second phase, which is the space of Sumanheon(收漫軒), Yocheondae, and Jangwoodam, the symbolical value of Sinjongchuwon(愼終追遠) and the remembrance and longing for one's parents are reflected. The third phase, which is the eastern outer garden of Hageowon and where the mountain stream flows from the north to south, is composed of the east valley(東溪) - Hwalsudam(活水潭) - Sumi Waterfall(修眉瀑布). More specifically, (1) Mongjeong symbolizes the life of gaining knowledge through studying to realize one's foolishness, (2) Hwalsudam symbolizes a transcending attitude in life refusing to pursue wealth and fame, and (3) Jangwoodam symbolizes the gateway to the fairyland to enter the world of mystic gods. 4) The rationale behind Hageowon is that the two algorithms of Confucionism and Taoist Theory appear repeatedly and in an overlapping way. The Napoji(納汚池) and Hwalsudam, which pertains to the prelude of space development, has symbolized Susimyangseong(修心養成, meditating one's mind and improving one's nature), which is based on ethical rationalism. Moreover, if the Monjeong sphere pertaining to the eastern outer garden of Hageowon takes the Confucionist value system as its theme, including moral training, studying, and researching, Jangwudam, Sumi Waterfalls, and Unwa can be understood as a taste of Cheokbyeon(滌煩, eliminating troubles) for the arts where the mystic world is substituted as a meaningful scenery. 5) The miniascape technique called artificial mountain was substituted to Hageowon to construct a mystic world like the 12 peaks of Mt. Mu(巫山). By borrowing the symbolic meaning expressed in old poems, it has been named 'Habang(1/何放), Hwabong(2, 3/和峯), Chulgun(4, 5, 6/出群), Sinwan(7/神浣), Chwhigyu(8, 9, 10/聚糾), Cheomyo(11/處杳), Giyung(12/氣融).' The representative poet reciting artificial mountain were Wangeui(汪醫), Nosamgang(魯三江), Dubo(杜甫), Hanyou(韓愈), Jeonheaseong(錢希聖), and Beomseokho(范石湖). They related themselves with literature by transcending time and space and attempted to sing about the richness of the mental world by putting the mystic world and culture of appreciating the arts they pursued in the vacation home called Hageowon.