An Aesthetic Interpretation of Post-industrial Parks with a Perspective of the Sublime

Abstract

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

Ecological Design Strategies and Theory for Urban Parks in Seoul, 1990s–Present

“…Unlike the advocates of scientific environmentalism, many in this group believe that ecological design is an artistic activity. They do not reduce ecological design to technological methods; rather, they employ the ecological processes as active tools for creating an aesthetic identity for the site [18][19][20][21]. This approach has been highly influenced by the seminal theory and practice of landscape urbanism led by James Corner and Charles Waldheim [30], as well as the sustaining beauty manifesto codified by Elizabeth Meyer [5,6].…”

“…Specifically, the aesthetic properties of natural ecological design were equated with pastoralism, as epitomized by Olmsted's urban parks [41]. In fact, regarding aesthetic categories, the quality and roughness of untouched wilderness pertains to the "sublime", which is contrary to the "beauty" of pastoral landscapes [20,42,43]. The meadow landscapes used ecological parks of the time tended to tame the Built and unbuilt ecological design projects constructed in Seoul in the 1990s shared roughly three characteristics.…”

“…The third approach, which has been followed in a relatively smaller group of studies, examines unique aesthetic experiences and specific design strategies of ecological parks. These studies have treated ecological design as a vehicle for the construction of novel aesthetic experiences, contrary to the idealized pastoral scenes epitomized by Frederick Law Olmsted's Central Park, which has been the dominant and conventional model of the urban park since the mid-to-late nineteenth century [6,[18][19][20].…”