• Archives of design research
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• v.14
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• pp.121-138
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• 1996

The purpose of this study is to develop a new architectural language and design strategies that would anticipate and incorporate new historical situations and new paradigms to understand the world. It consists of four sections as follows: First, it presents a new interpretation of space, human body, and movement that we find in modern art and tries to combine that new artistic insight with environmental design to provide a theoretical basis for performance-event architecture. Second, it conceives of architectural environment as a combination of space, movement, and probabilistic situations rather than a mere conglomeration of material. It also perceives the environment as a stage for performance and the act of designing as a performance. Third, in this context, man is conceived of as an organic system that responds to, interacts with, and adapts himself to his environment through self-regulation. By the same token, architecture should be a dynamic system that undergoes a constant transformation in its attempt to accommodate human actions and behaviors as he copes with the contemporary philosophy characterized by the principle of uncertainty, fast-changing society, and the new developments in technology. Fourth, the relativistic and organic view-point that constitutes the background for all this is radically different from the causalistic and mechanistic view that characterized the forms and functions of modernistic design. The present study places a great emphases on dematerialistic conception of environment and puts forth a disprogramming method that would accommodate interchangeability in the passage of time and the intertextuality of form and function. In the event, performance-event architecture is a strategy based on the systems world-view that would enable the recovery of man's autonomy and the reconception of his environment as an object of art.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.3
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• pp.66-71
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• 2015

Given the recent trend of natural planting, the recognized needs for new landscaping plants that have advantages in terms of climate change and maintenance, and expected increases in demands for grasses in Korea, this study is intended to investigate from the design point of view the techniques to use grasses and their significance through garden design by Piet Oudolf who is attracting international interests with the use of perennial plants and grasses and is leading the trends in modern planting design, thereby answering the question: how to best use grasses in landscaping spaces? The characteristics of Oudolf's garden design using grasses are summarized in the following conclusions: First, Oudolf combines perennial plants and grasses to make one-to-one correspondences or express expanded drifts. Here grasses mainly serve as an element to change over to other spaces or as a connecting element between image transitions. Second, the brown color and texture of grasses represent Oudolf's considerations on the temporal continuity of gardens. They express the lyricism and pictorialism of autumn and winter. Third, grasses serve to set layers in wide areas resulting in discordance between viewpoints and circulations. Oudolf repeatedly cross perennial plants and grasses using matrices, islands and distributed layering. Here grasses are used to express abstractive meanings in the settings of scenes.

• Journal of the Korean Institute of Landscape Architecture
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• v.34 no.1 s.114
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• pp.92-106
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• 2006

The process of designing Cheonggyecheon Entrance Plaza began with researching four keywords: plaza, restoration. modernity and icon. The outcome of the research was reinterpreted into and informed the design. An urban plaza must not only be a stage for civic life but should also be a portrait of the city to which it belongs. Many Korean plazas, however, are treated as if they are parks. Yeouido Park, which was originally a vast urban void, and Seoul Plaza, recently paved with grass, are good example. The strong 'green myth' can hinder socio-political activities. Cheonggyecheon cannot be said to have been 'restored', since it is still disconnected from its origin and upper streams, and the water is circulated by electricity. So it is better understood as an artificial urban waterfront, rather than an ecologically restored stream. This fact might diminish its ecological value, but not its recreational one. The entrance plaza therefore should reflect that the new stream brings back an 'experience', not only water itself. At the same time, the catch phrase of this restoration project was 'post-modern'. The demolished Cheonggye Expressway represents the 'economy drive' of the 1970s, so the newly opened Cheonggyecheon serves as a perfect counterpart to it. But modernity in Korea is the spirit that made many of the good things, not only its shortcomings, we have now. And from the philosophy of this restoration project, we can see that it is still an ongoing attitude in a way. Remnant of Cheonggye Expressway can evoke our nostalgia for the era. There are plenty of symbols in Seoul, both as architecture and objects. But none of them provide citizens with experience, other than the experience of looking at them. Cheonggyecheon Entrance Plaza is a good place to serve as an icon for a dynamic Seoul. From the research, the designer concluded that this plaza should commemorate the incomparable horizontal experience of Cheonggyecheon and the old expressway, amid the vertical metropolis. The Pedestrian Sculpture, which people can stroll on and look out over Cheonggyecheon, is to be made of steel cladding with a core structure and represents the dynamism of the stream, Seoul and contemporary Korea. The choice of material and the steel structure are also ways of creating the icon. The Water Plaza, the space underneath the ramp, will accommodate people and their urban activities, providing an opportunity to play with water. The Waterblades will be a device for the dramatic beginning of the stream, simultaneously camouflaging ugly openings in the outlets. The Wall of Archaeology is to be made with pre-fab resin blocks, translucent enough so that people can see through any archaeological findings of the site. The strong water-resistant character of resin makes the wall steady throughout the flood season as well. Cheonggyecheon restoration project is an effort to combine contemporary urban demand with the once-existing physicality by evoking our nostalgia for it. The project itself shows many socio-political issues of present-day Korea. The entrance plaza design thus is focused on suggesting an icon for the metropolis, simultaneously celebrating the stream itself. Within this space, people will be exposed to a unique experience that any 'green myth' cannot offer.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.3
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• pp.68-79
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• 2012

This study examines features in using Japanese apricots that assume a leading place with a special symbolism among various species of trees adopted to traditional gardens from a landscaping view. Specific aspects of how Japanese apricots were adopted to traditional gardens are as follows. First, while Japanese apricots are used in modern landscape space, there traditionally were six types in use of Japanese apricots as Tammae(探梅) Jungmae(庭梅) Bunmae(盆梅) Byoungmae(甁梅) Chomae(造梅) and Mukmae(墨梅). Second, Japanese apricots planted in gardens[庭梅] were placed mainly in a front yard of Sarang-Chae(the men's part of a traditional house) took a central area because symbolism and ornamental values of Japanese apricots suited what classical scholars sought. Preferred planting sites at that time include south of the building, the yard of Sarang-Chae, space in front of windows and next to fences and waterside. Third, Japanese apricots in traditional gardens were planted in five ways; Dansik(單植) Daesik(對植) Gunsik(群植) Yeolsik(列植) Honsik(混植). Dansik was the most common way in planting Japanese apricots and Daesik intended to enhance orderedness and symbolism of space. Japanese apricots for appreciating in an open field took the form of Gunsik in general but Honsik was also used with species of special symbolism. This study offers an opportunity to grasp traditional planting methods of Japanese apricots based on understanding of cultural aspects of Japanese apricots by focusing on Japanese apricots, the representative traditional species of trees. Results of the study would help to recognize the need to newly understand Japanese apricots and be useful information to plant and use Japanese apricots in a traditional way.

• The Journal of the Convergence on Culture Technology
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• v.5 no.4
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• pp.29-36
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• 2019

Lee Sang's poems and his portraits are being used in various video media. Depending on the characteristics of the medium and genre, the representation of the poet or higher and his poems are selected and variations in different ways. In a modern era where literature communicates with various media, reviewing how a poet's portrait is shaped is also the process of reading what text wants to convey to the public through a single person. This study examined aspects in which representations of poets or higher were utilized in various image media, and compared and analyzed how poet aberrations are represented in each text. In particular, the discussion centered on the movie and the drama . In the movie , the above poem is used as a hidden puzzle. The film uses the popularly known 'genius' representation to track down Yi Sang's secret. Because of this, the film represents its ideal in a way that is faithful to the genre's custom of Thriller In comparison, the drama was about to re-emerge as a young man with a passion for the inner workings. The cynical attitude shown in the above text is also a reflection of the love for the nation and the times. These different typographical methods are worth noting in terms of the literary man's public perception of "Yi-sang" and the strategy of the new portrait attempt.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.4
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• pp.159-169
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• 2011

This research aims to discover how the pure land(Sukkavati), which had the greatest impact on ordinary people since the Shilla period, are represented in the Buddhist temples. This study first looked into the seven landscapes of the pure land, which are written on the $Amit{\bar{a}}yurdhy{\bar{a}}na$ $S{\bar{u}}tra$ a reliance on $s{\bar{u}}tras$ of the Pure Land School. Then, their meaning in the modern world were interpreted. Next the research moved on to the next step to see how the spirit and ideas of the pure land are shown in temples of the Pure Land School. Korean temples of the Pure Land School were found to faithfully embody the landscapes of the pure land in the $Amit{\bar{a}}yurdhy{\bar{a}}na$ $S{\bar{u}}tra$. One might say that those landscape traits of the temples surveyed are common among all Korean buddhist temples, but in the temples of the Pure Land School. those traits consistently reflect special concepts, forming their landscape identity. But ponds, on which the $Amit{\bar{a}}yurdhy{\bar{a}}na$ $S{\bar{u}}tra$ and the picture of $Amit{\bar{a}}yurdhy{\bar{a}}na$ $S{\bar{u}}tra$ put huge emphasis and drawn without an exception, were hard to find among the temples surveyed. This means that previous idea that a pond was an indispensible part in the temples of the Pure Land School needs to be corrected.

• Journal of the Korean Institute of Landscape Architecture
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• v.50 no.6
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• pp.15-29
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• 2022

The Byungsan Neo-Confucian Academy, a 17th-century World Heritage Site in Korea, is being praised as a manifestation of naturalness or non-artificiality of the traditional Korean borrowed scenery technique (借景, chagyeong). This study, however, aims to reinterpret the chagyeong of the Byungsan Academy (hereafter the Academy) as a device of illusion evoking an idealized vision of nature. In the process of interpretation, 'picture and frame'-a widely accepted expression that represents the chagyeong of the Academy-will be foregrounded as the pivotal concept mediating the change of perspectives from naturalistic to ideological. This study consists of the following three parts. First, it shows that 'picture and frame' represent a modern way of seeing the Academy as an architectural heritage in harmony with nature; it denotes pristine nature and the empty architectural frame that safely circumscribes the innate beauty of the natural landscape. Second, departing from the naturalistic perspective, this study argues that the architectural framework of the Academy composes scenography enticing the viewer to imagine the idealized, Confucian image of nature that compares to the landscape imagery found in the landscape poetry and paintings that were produced and appreciated by the 17th-century Confucian literati. Lastly, based on the above interpretation, this study stresses that the 'picture' one encountered at the Academy in the 17th century was not the framed scene of a natural landscape but the illusion it caused; the architectural 'frame' worked not as a symbol of naturalness but as an institutional apparatus of vision manipulating the way one sees-and therefore imagines-the landscape.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.41 no.3
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• pp.1-12
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• 2023

After 60 years since the enactment of the cultural property protection act, Korea's national system of protecting what has been valued has been transformed into a 'National Heritage System'. To meet the new system, the classification of national heritage has been re-classified into three categories as cultural heritage, natural heritage, and intangible heritage. In accordance with the sub-classification, acts for cultural heritage act and intangible heritage has been amended and act for natural heritage has been enacted. Act for natural heritage defines natural heritage as natural objects or cultural heritage formed through the interaction between human beings and natural environment. The sub-classification are categorized as follows; animal, plant, geological and natural reserves, natural landscapes, historical-cultural landscapes, and mixed landscapes. It also allows creating traditional landscapes so that traditional way of landscaping can be encouraged and integrated with modern life within historic environment. In line with the new concept of traditional landscaping, existing practices will be also needed to be changed. Traditional landscaping will play a significant role in setting out the new administrative paradigm which focuses on more value preservation. This paper recommends that effective collaboration between government, experts of traditional landscaping, and owners should be established to integrate the new policy in practice.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.1
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• pp.28-37
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• 2013

As a symbolic landscape of Seoul, Namsan has undergone not only physical changes but also changes in its human use and characteristics. At this point, research on Namsan, which holds diverse stories that have accumulated over a long period, as a cultural landscape is necessary. In particular, a concrete understanding of the characteristics of the mountain's use in the period of its initiation as a modern park is an important task in research on the history of urban parks. Consequently, the purpose of the present study lies in grasping the use of Namsan at the time of the establishment of Kyongsungbu Namsan Park Design Proposal in 1917 and examining the characteristics per space. The research process was based on the status of the park design plan. The primary source of information came from the analysis of historical newspaper articles. Additional materials including documents, old maps, photographs, postcard materials were also used. The period of the study was 1883 to 1917. This time was the initial period of Namsan Park soon after the opening up of Korea's ports to the world. The major spaces in which Namsan was used as a park encompassed Hanyang Park, Waeseongdae Park, Noin-jeong, Jangchung-dan, and remaining parts of Namsan in a natural state. When the main ways in which each space is used are examined based on the data analyzed, Namsan has been used for purposes including public events, accidents, religious worship, track and field days, field trips, and strolls. When the nature of each of the spaces is determined in terms of the characteristics of their use, these spaces were characterized as community parks, outdoor community spaces, indoor community spaces, sports arenas, and natural parks, among other things. The present study is significant in terms of research on the history of parks for confirming that Namsan in the initial period already served as a modern park for urban activities and grasping the specific urban activities that were engaged in on Namsan.

• Journal of the Korean Institute of Landscape Architecture
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• v.44 no.4
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• pp.86-99
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• 2016

This study was for analyzing the external environment and internal space structure and improving the way of use efficiency in waterfront through the Dragon boat festival to utilize waterfront actively. Through from the four target area, Hongkong, Busan, Incheon and Daejeon, this study was for an importance and satisfaction analysis for users about the element effect on the waterfront use efficiency and the contribution to cultural contents revitalization of waterfront by giving basic data. The result is as follows. First, in the importance analysis about 12 items, modern cultural infra around the waterfront was ranked highest, 8.26 and waterfront landscape, square & openspaces, convenience facilities, transport, green area, quality of viewing space, historic resources, pedestrian, suitability of width, wave, depth, water quality, berth & mooring were ranked in descending order. Second, waterfront landscape was interpreted by rather the external environmental impact according to city size than the matter of spatial structure in target area and judged as an important factor effect on site selection for waterfront. In the analysis of waterfront landscape, the reason of the high satisfaction about domestic target area was that riverside parks were recently made considering their waterfront activities. Viewing space was major infra where people could experience the pleasant waterfront and watch dynamic water leisure sports like Dragon boat three dimensionally and was thought to be improved for the use efficiency. Third, tourism resources were very important element that affect the use efficiency of waterfront, so waterfront users react sensitively to modern tourism resources rather than to historic resources. This meant that tourism infrastructure for shopping and leisure of the young affected the use efficiency of waterfront, so Hongkong and Busan were in a better position in terms of using waterfront that was near the tourism infrastructure. Fourth, in the analysis of traffic accessibility, both Hongkong and Busan were high evaluated in terms of excellent traffic accessibility by subway. Daejeon was low rated in terms of the satisfaction of use efficiency, because of the relative lower place awareness compared with transportation infrastructure. In Hongkong, waterfront was connected with downtown and in Busan, housing complex and shopping centers were located in the place for users in an easily accessible on foot, so the satisfaction was high-pitched. Finally, in the importance of water surface width and the analysis of satisfaction, except Incheon, all the three were over 200m in width of water surface and this meant the surface width above certain level was interpreted to interrupt the concentration of enjoying the water leisure sports. In the analysis of surface condition such as water quality, water depth and wave, through a survey, Busan had a problem with water quality and Gapcheon in Daejeon had a problem with optimal water depth by the festival participants.