이 연구에서는 19세기 수많은 작곡가에 의해 완성된 ≪들장미≫ 노래가 독일정원의 장미꽃 문화와 무관하지 않음은 누구나 인식하고 있어 19세기 사회문화적 배경에서 본 독일정원의 장미 꽃 문화로 탄생된 ≪들장미≫ 노래와 그 의미를 새롭게 주목하고자 한다. 괴테의 들장미 시는 1770년경에 작시 되지만 19세기 들어 장미꽃-붐과 함께 독일어권의 많은 작곡가에 의해 ≪들장미≫ 노래로 작곡된다. 그리고 괴테의 시를 가사로 한 ≪들장미≫ 노래는 19세기 독일정원 특히 장미원에서 소통력을 더욱 발휘했던 문화적 소리였음을 알아차리게 했고 동시에 시청각적 정서활동을 지원하는 매개체로 작용했다. 이는 당시 자연을 배경으로 한 시민들 의 생활음악에 대한 이해를 넓히고 음악사에서 19세기 독일정원의 장미꽃 문화로 탄생된 ≪들장 미≫ 노래와 그 의미의 중요성을 인식하게 한다. 논문투고일자

This study compares and analyzes design status according to the visual, structural, and non-visible characteristics of the Korea One-pyeong Garden Expo, Gyeonggi Garden Culture Expo, and the Seoul Garden Show. The purpose of this study is to identify the design characteristics of the works exhibited at the garden expo and to present the initial study among the case studies conducted in the early stage of the domestic garden expo while providing relevant information to other local governments that will oversee future garden expos. Visual characteristics included plantations, materials, and colors, while structural characteristics included the plane, entrance, moving path, and edge. Non-visible features included the subject and cost. Collectively, garden works used more artificial materials than natural materials. Depending on whether the garden was to be maintained, it was necessary to choose species that were easy to maintain and that met the conditions of growth. Floor materials mainly included crushed stone, soil cement, bark, granite slate, and volcanic stone. Structurally, most gardens contained formal planes, closed entrances, and closed-type boundaries. The circular and regression lines were often transformed into straight or curved lines. Garden themes differed depending on the theme of each garden exposition, but there were also many universal themes (e.g., “resting through the garden”). Costs had not yet been set for the garden exposition’s budget.

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 paper is a study on the visitor’s motivation and satisfaction to invigorate the Garden Expo that is spreading gradually since it was first held in 2010. 209 visitors of the Gyeonggi Garden Culture Expo, which was held in Gyeonggido Anseong, 2015, were surveyed. As the result of the survey, it was possible to find out that the visitors’ demographical/social economical backgrounds were so diverse the interest of Garden culture was highly popular. As the result of measuring the motivations using Maslow’s needs, the safety needs were the biggest but all 5 needs were shown relatively balanced. Women than men, and older generations than the younger generations showed higher self-actualization needs for creating a garden. The influence of the motivation on satisfaction was the highest in safety needs and self-esteem needs. Thus, it is able to see that in rest-oriented gardens decorated with plants, visitors feel safe and pleasant, while having pride that they are leading high level cultural life rather than mere entertainment. This result indicates the public's interests on what are not only high but also quite positive in Korean society, where Garden Expos are just starting out.

본 연구는 정원의 환경과 문화를 융합한 프로그램을 개발하여 중 고등 학생들의 창의적 체험활동에 활용할 수 있도록 프로그램의 지침을 제안하는 연구이다. 이와 같은 목적을 달성하기 위하여 문헌 연구를 통해 융복합 프로그램의 목적과 요소를 분석하고 정원의 환경적 요소와 문화적 요소를 통합한 시범적 프로그램을 도출하였다. 또한 도출된 정원 환경과 문화 융합 프로그램을 실행하고 이때 참여한 체험교사 30명을 대상으로 프로그램 요소별 만족의 정도를 조사하였다. 프로그램요소는 환경적 요소, 효과적 요소, 프로그램 내용적 요소로 분류하여 17개의 변수를 도출하고 이들 변수가 프로그램 전체 만족에 미치는 영향에 대하여 통계적 분석을 실시하여 만족에 영향을 주는 요인을 분석하였다. 독립변수17개와 종속변수로 1개를 회귀분석을 통해 분석한 결과는, 정원환경과 문화 융합 프로그램에서는 창의성 향상과 사회성증진 효과가 가장 중요한 효과로 나타나고 자연관찰 및 표현프로그램이 가장 만족이 높은 프로그램을 나타났다. 따라서 창의성과 사회성을 위한 대화와 의사소통 방법을 프로그램 지침서에 구체적으로 제시하고 자연과 동화되는 관찰과 표현기법 프로그램을 체험교사가 적용이 용이한 매뉴얼방식으로 제시할 것을 제안한다.

The recent disaster of earthquake and tsunami on March 11, 2011 severely attacked East Japanese cities and people, and in addition, the accident of nuclear power station will inevitably damage the agricultural activities there. The economical depression influences on the horticulture and floriculture industry as well, through the reluctant consumption all over the country. Such a situation reflects a conventional perception that the garden plants or ornamental plants have been regarded as a symbol of capitalism, representing the success, luxury, beauty or other metaphors indicating the winners of business war. But as the word "culture" means "cultivation" originally, horti "culture" or flori "culture" should have played some roles in cultivating lands as well as cultivation of human minds, leading to develop a modern "culture" which may lay emphases on personality, originality, partnership, cooperation, diversity and so forth. In this article, a brief history of garden plants in Japan, as well as some current movements in Japanese horticulture and floriculture, is reviewed with some commodities which possess messages on creating a new humane culture.

본 연구에서는 선진국형 창의적 체험활동의 한 장르로서 실생활에 적용할 수 있는 정원문화교육 프로그램을 시험운영하고 이에 대한 만족도를 비교분석하여 세부 프로그램의 구분기준을 제시하였다. 일반인을 통하여 현장체험활동의 관심도별 선호경향을 분석하였고 대학의 전문교양과정을 통한 프로그램진행으로 지역별, 전공계열별 차이를 분석하였다. 프로그램개발을 위해서는 선행 문헌을 조사하고 전문가를 패널로 구성하여 브레인스토밍 방식에 의한 인터뷰조사를 통해 프로그램의 방향을 도출하고 이를 기준으로 시험적 프로그램을 만들었다. 이를 바탕으로 정원박람회 현장프로그램 체험자를 대상으로 프로그램 선호도를 조사 분석하였다. 이를 통하여 정원문화향상을 위해 개발된 교육프로그램은 정원활동에 관심도가 높은 그룹은 적극적인 체험프로그램과 구체적인 디자인프로그램을 도입하는 것이 효과적이라는 것과 관심이 적은 초보자는 간단한 산책으로 정원을 감상하도록 하는 프로그램을 활용함이 좋다는 결론을 얻었다. 강의실프로그램은 공간디자인성격의 실내정원이 인테리어관련분야이므로 거주형태가 삭박한 서울과 도시거주자에게 만족도가 높았고 원예치료도 서울 중심으로 도시지역거주자에게 만족도가 높게 나타났다. 반면 다른 프로그램은 지역별로 유의미한 차이를 나타내지 않았다. 반면 대학의 전공 계열별인 자연계과 인문계간의 유의미한 차이는 나타나지 않았다. 세부프로그램 개발 시 도시와 서울권과 수도권 및 지방의 경우를 고려하여 프로그램내용의 비율을 조정하여 설계하고 현장프로그램은 초급자와 중급자 고급자로 나누어 초급은 간단한 활동으로 고급은 적극적인 텃밭 가꾸기와 같은 지속적인 노작프로그램을 도입하여 성취감을 느낄 수 있는 프로그램을 강화하는 것이 필요하다는 것을 알 수 있었다. 따라서 지역의 기술센터, 문화센터, 복지관, 식물원, 대안학교 등과 정보교환으로 교육내용을 피드백 하는 유기적 교육프로그램 적용이 적합하다. 또 본 연구의 결과를 바탕으로 교재 및 교구 개발이 지속적으로 보완 된다면 궁극적 목표인 창의적 체험활동영역으로 정원 문화 교육프로그램이 정착 될 수 있을 것이다.

As a part of the research of small gardens, this study was carried out to survey the history and culture of 19C English and Australasian cottage garden. This western garden study will be expected to change Korean suburban and rural garden style delightfully and plentifully. The results of these studies are summarized as follows. The cottager appeared in the English landscape and social system after the Black Death and with him, the cottage garden. But, the suburban garden is the ancestor of the stylized English cottage gardens. Loudon created the nineteen-century suburban garden which, in the long run, influenced the shape and planting of rural cottage garden too. Loudon worked out rules from Repton's theory and practice, and then modified for the smaller. A measure of regularity is imposed by two conditions: the fact that suburban gardens are rectangular and fenced; and his own ideas for what he called 'gardenesque'. Miss Gertrude Jekyll could recognize the cottager's unwittingly good examples, could deduce from it some widely applicable rules. From the old cottage garden Gertrude Jekyll borrowed the charm of natural simplicity, produced a garden style from it and, at last, made the cottage garden self-conscious. It was a good example of the art which conceals art, not of artlessness. To sum up: the rules for laying out and planting the cottage garden are straightforward; The design should be rectangular and very simple; The native plant species can be included in the planting, and every cultivar not later than, say, the middle of the nineteenth century, excepting those which have never been associated with the 'idea' of a cottage garden. Australasian cottage gardens have derived from the English originals. They were also a fairly uncomplicated structure based on a grid of straight paths and a wide selection of flowering plants, shrubs, bulbs, annuals, biennials, perennials and climbers planted with no particular regard to flowering season or stature and with an unsophisticated colour scheme. The ideas of Loudon were most popular and widely read. As the century advanced, the transformation of the cottage garden was furthered into the flower garden. They took the news of the latest discoveries and productions in their stride and eagerly welcoming. However, aside from the profusion of the planting, the use of favourite old flowers and the random scatter of flowering shrubs, perennials, bulbs and other plants, the most important is still the simplicity of the design.@