Digital landscape representation tends to be used mainly to provide illustrations of designed landscapes that have not been actualized, rather than to deploy operational design strategies during the design and reception process. The present study offers a critique of this direction of digital representation towards realism in current landscape design. To illustrate this pervasive trend, the authors have coined the term ‘photo-fake’: an image that imitates the actual existence of a designed and not-yet-actualized landscape. The study then discusses several photo-fake conditions (invisible frame and the viewer’s position, creating illusions, landscape as theatre and human figures as spectators, and digital aura), through which the visual materials developed in 2012 for the International Competition for the Master Plan of Yongsan Park, Korea, are scrutinized. Through this analysis, the authors contend that a photo-fake’s realism is not the actual realism of the physical world but rather depends on the established pictorial convention of fine arts and 18th-century picturesque aesthetics in landscape architecture.
I nt h eh i s t o r yo fl a n d s c a p ea r c h i t e c t u r e , t h es u b l i meh a de x p a n d e dt h es c o p eo f a e s t h e t i ce n j o y me n t. I t h a do p e r a t e da sa na l t e r n a t i v ea e s t h e t i cc a t e g o r ya g a i n s t c o n v e n t i o n a l l a n d s c a p ed e s i g n. A t t h es a me t i me , i th a db e e na s s o c i a t e dwi t ht h eo r i g i n a l r o l eo fl a n d s c a p ea r c h i t e c t u r e , w h i c hc r e a t e da r t w o r k sb yt a mi n gwi l da n d
This paper aims to make an aesthetic inquiry into representing modes of wilderness in western films. The western film was the first genre in earnest about natural landscape, covering vast areas of America from the East to the West. It adopted representative modes suited to physical characteristics of landscapes which produced aesthetic characteristics. In western films, wilderness was represented at a distance from the camera lens as a setting and an object of contemplation. In eastern forest landscapes, western films adopted the visual model of Hudson River School's landscape painting which expressed the transcendental sublime. The western semiarid region reproduced the warrior's gaze shot from a high angle, and, in this visual mode, wilderness was expressed as a demonic landscape derived from Burke's definition of the sublime. On one hand, the western desert was represented as a place of hardship shot at a low angle which expressed the vastness, unevenness and limitlessness of the desert owing to the absence of horizon. On the other hand, the mesas of Monument Valley have sublime characteristics of size and time. In western films, they play the role of an emblem by rising from the limitless desert on the horizon. The prospect-refuge relationship, the desire to see without being seen, is discovered in the representative mode of wilderness in western films. In this context, this study hopes to discover the archetype of landscape representation.
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