This work examines discourse on uses of computer technology and its transformation during the last thirty years effecting Korea landscape architecture. First, in the 1990s landscape architects begun to use computers as a new technology for landscape architecture, programming computer software utilities suitable for landscape research, planning, and design. The landscape architects, acting as computer programmers, tried to explore various techniques for landscape analysis and design with a piece of software, and various experts within the field of landscape architecture collaborated with each other. However, landscape architects mainly used computer technology as a tool as a substitute for hands-on cases. Since around the 2000s, the discourse on mapping and diagrammatic techniques as a visualization technique for landscaping processes have begun. Also, realistic representations for perspective drawings using graphic software have been increasingly important. The landscape architects, acting as graphic designers, focused on the specific visualization techniques for landscape planning and design. However, computer technology has been mainly used to produce realistic visuals aids for final presentations instead of creative exploration to generate landforms. Additionally, recent landscape architects have been using landscape performance modeling and parametric modeling for landform and landscape furniture design. The landscape architects as spatial designers are actively using computer modeling as creative form-generating tools during the design process.

This study aims to understand the tendencies and characteristics when constructing landscape architectural archives in the United States, and to find implications for creating Korean landscape architectural archives. Focusing on seven American landscape architectural archives operated by public institutes, universities, and research institutes, this study examines the background, mission, scope, subject, acquisition, arrangement, and application of the programs in the archives. The results show that the characteristics of the American landscape architectural archives are as follows: first, the recognition of the value and importance of the landscape plays a major role in the establishment of archives; second, the purpose of the archives is to educate and encourage people to find diversity or significance of landscapes; third, the subject and scope of the archives vary according to the purpose of each operating institution; fourth, the main acquisitional method is to receive a donation and to purchase materials or documents; fifth, the classification systems of each archive differs depending on the subject and scope; and sixth, the archives were built on the basis of participation and collaboration with various experts and organizations with stable and sustainable financial resources. These characteristics offer three implications for constructing landscape architectural archives in Korea. First, a long-term vision for landscape architectural archives and the establishment of differentiated themes are required. Second, appropriate methods of material collection and systems of classification, recording, and digitization are necessary and therefore research and pilot archives are required. Third, it is necessary to secure the sustainability of archives by developing ways to utilize the archives in connection with academic and educational programs, thereby securing financial resources and allowing for the establishment of appropriate policies. As basic research, this study is significant as it provides a basis for further research concerning the development of landscape architectural archives in Korea.

This work discusses the major roles of digital technologies in the history of landscape architectural drawing, and offers a critique of the dominant trend towards realism in recent digital landscape representations. During the period of transition from conventional drawing tools, computer technologies generally functioned as mechanical tools to imitate prior manual techniques. Specifically, the GIS was served as a mechanical tool to efficiently process the manual layer cake; CAD software generally functioned to translate physical models to two-dimensional construction documents while graphic software generally functioned as a tool to perform processes similar to those of manual collage and montage techniques. Recent digital landscape drawings tend to adopt a realistic depiction like the painting of landscape appearance. In the representations, discernible traces of cutting and assembling are removed via graphic software; thus, the complete representations are perceived as if they were a copy of an actual landscape. The realistic images are an easy way to communicate with the public. However, it is difficult to achieve a full embodiment of all of the multisensory characteristics of a landscape through these visuals. They often deceive viewers by visualizing idealized conditions of not-yet-actualized landscapes and production of the final images takes up a large portion of the overall design process. Alternatively, 3D digital modeling of landscape performance and creative uses of digital technologies during the overall design process, as well as hybridized techniques with different drawing techniques and technologies, provide the opportunity to explore various aspects of a landscape.