This study analyzes the structure and meaning of the landscape expressed in the Sangrimshipgyeong poem composed by King Jeongjo, which describes the Donggwol back garden in the Joseon Dynasty. The study conclusions are as follows: the landscape contents of Sangrimshipgyeong were evenly distributed in the Donggwol back garden, and jeongs, gaks, and dangs are set as view points. The landscape objects of Sangrimshipgyeong consisted of behaviors and the natural phenomena of four seasons. The poem primarily depicted daytime scene. The landscapes were distributed over the four seasons, with four spring landscapes, four autumn landscapes, one summer landscape, and one snowy landscape. The landscape structure expressed in Sangrimshipgyeong appeared to be formed around a limited view point of the building. However, the objects did not intermittently exist, but maintained organic relations in one context. It is organic and harmonious in that interplay was visualized as the pavilion extends to nature, and nature comes into the pavilion. The depiction of Sangrimshipgyeong was not only very suggestive in terms of showing the hopes and dreams of the royal culture of the Joseon Dynasty, but also interesting because they were based on the condensed ideological symbolism of a specific cultural group. Sangrimshipgyeong expresses amusement and responsiveness to the scene based on the understanding of nature in the limited space of a palace back garden. It was also full of dynamic poetic language, such as encouragement of agriculture, sericulture, rain-calling, and highest- level state examination. Sangrimshipgyeong is interpreted as a symbol of ideology and a desired landscape reflecting the cosmic resonance of political affairs and moral cultivation of a king or an heir to the throne.

The purpose of this study is to investigate the possibility of using the simulation landscape image by analyzing the landscape characteristics of the Landscape image and the simulation landscape image among the methods to grasp the quantitative relationship between the physical change of the user and the human response. The research subjects were set as Cheongnyang-ri station square, and the research method is as follows. A survey was conducted based on the extracted landscape adjectives for comparison of actual landscape image and simulated landscape images. In addition, image analysis, preference and complexity analysis, and decision factor of landscape preference were analyzed to Comparison analysis the characteristics of actual landscape image and simulated landscape images. The results of comparative analysis are as follows. First, it can be seen that there is no difference in the factors that affect the specificity and openness in using the simulation landscape image. Second, preference analysis shows that both the Landscape image and the simulation landscape image are the most preferred at 10% of users. Third, the complexity is low at 0% in both the Landscape image and the simulation landscape image, and 35% is high in complexity. Fourth, the comparative analysis of the decision factor of landscape preference by 'visual complexity and preference', 'User fluctuation and preference', 'User fluctuation and visual complexity' were analyzed. Therefore, it can be seen that the method using the simulation landscape image rather than the actual landscape image is more efficient when analyzing the visual cognitive characteristics.

Understanding the identity of an urban space is one of the most important considerations for spatial planners and designers, who are charged with revealing and strengthening the space’s sense of place. However, in many cases, an urban space is regarded merely as a physical form, lacking an interpretation of various semantics, such as its history, political economy, social culture, and art. The purpose of this study is to investigate how an urban space evolves, and thus, how the social images of urban spaces can be recognized with Lefebvre’s theory. Therefore, we examine an urban district to reveal the interaction between societies and spaces through images reflected in news media and public articles, and eventually define the identity of the space. This study takes Yeonnam-dong district as its case, and carefully examines the social relations affecting spatial practices in the area by means of Lefebvre’s spatial triad: representation of space, representational space, and spatial practice. Using historical observation as a research method, we conducted a case review of Yeonnam-dong over 40 years (from 1975 to 2016). The results indicate that there have been complicated power dynamics and struggles to form the current image of Yeonnam-dong, which is still an ongoing process; this exemplifies Lefebvre's notion of the social construction of spaces. The results provide meaningful lessons for planners and designers that they should play important roles as coordinators in radical spatial changes. One of the major limitations of this study is that it does not fully examine the detailed roles of each social entity in the landscape changes, which should be investigated in further studies.

The purpose of this study is to find the traditional landscape of the Korean tea cultivation area, which has become a tourist attraction as a result of heightened interest in tea culture increased. The subjects of this study were wild tea cultivation area in the vicinity of Bulhoe temple and Unheung temple in Naju, Jeollanam-do. The research method was conducted through field survey and literature analysis. Research results are as follows. Through literature and related research, tea cultivation in the past was performed around temples in Korea, and existed in a wild form in a place where proper shade is secured. In the analysis of spatial composition and landscape characteristics, it was confirmed that the wild tea plantation is located on the north side of the temple and on the slope of the northwest side of the temple. A wild green tea was grown along the valley to a higher position than the temple. There were two types of cultivation environment and landscape. One is a place with proper shade. In other words, a wild tea grows in the lower part where some shade is provided by a tree. The other is the case where a wild tea is located in the inner space surrounded by the trees, and it has topographical characteristics such as slopes in the south and southeast directions.

This study aims to interpret the characteristics of the townscape of the market area in the Hongju Eupseong walled town based on the formation and transformation of modern urban tissue. Based on an analysis of the town plan using a cadastral map, land register, building management register, and aerial images, the change process of the urban tissue and townscape in the market area is divided into three phases: the expansion phase of the market’s function from the 1910s to 1940s, which featured an open market-based townscape; the declining phase of the market’s function from the 1940s to 1960s, which featured a route-shop-based townscape; and the expiration phase of the market’s function after the 1960s. More specifically, with the opening of roads, the functions of the open market gradually diminished from the 1940s on, and after the war, especially during the rapid urbanization of the 1960s, the market area changed into a roadside shop and inner residential area, and the foundation of the current townscape was fixed. Above all, it is noteworthy that since the 1960s, the urban tissue and townscape have formed on the foundation of the former open market based on Japanese capital.

This study created a thematic garden, entitled “Spring revisited”, in the outdoor garden section of the 2017 Goyang International Flower Festival to present the life and ideas of poet Yoon Dongju through garden culture. It used visual narrative techniques to express and present the poet’s life and the value of his literature in the language of space design. Through this method, the garden provided a holistic experience of Yoon Dongju’s selfhood and literature through indirect perceptions experienced in the space rather than as direct experience. The room of wind and time embodied the poet’s life by overlapping small pieces of blue-colored clothing, and fluttering cloths and grasses were used to represent the wind. In the room of night and stars, a black mirror expressed the night sky as a visual embodiment of his poetry. In the road of desolation, a long passage was created with walls on either side to express the desolation and agony of life to the viewers as they walked through the dark space. The path of the writing pad was modeled on a manuscript to convey the meaning of the poet’s path, and the poetic language of the poet’s masterpiece, heaven, wind, stars, and poems, were written there on. The stone grave, flower grave area combined the negative words of “stone grave” with contrasting images of stone and flower to seek a transition in the emotional atmosphere. The poet’s room was a partially open space inspired by a prison cell. A chair and a desk with a writing pad and pen reminded the viewers of the poet and helped them to experience him. The space of spring was a double meaning of the spring time he could not experience and his aspiration for the nation’s independence. At the height of the garden festival, numerous types of beautiful spring plants were presented. The significance of this study lies in its design techniques that enabled a clear presentation of the topic in the garden space to a general stream of visitors combined with the values pursued by the poet.

This plan attempts to rigorously analyze the location characteristics and surroundings of the Ungpo village from the perspective of rural landscape planning. On the basis of the analysis, a strategy for developing the village as a rural tourist hub is established by determining characteristic attractions. The ultimate objectives of this plan are to create a good living environment for the local people and provide memorable attractions to visitors, which are expected to increase the incomes and revive local community. In other words, this plan conceives a village that is an attractive place to visit and also a good place to live. The planning procedure included an analysis of the current situation, basic concept, basic plan, and landscape plan. The characteristics of this plan are as follows. First, the natural features and surroundings of the Ungpo village were reflected in designing a rural tourist hub. Second, the current infrastructure was considered in the basic plan to create a sustainable rural tourism environment. Third, a water experience space is included in order to create an amusing and exciting tour. Fourth, the existing facilities will be remodeled to create amenities for visitors. Fifth, the main focus of the plan includes the landscape plan, increasing the visibility of streets, and connecting nearby tourist attractions and the landmark plan around the rural tourism center.