• Journal of architectural history
• /
• v.26 no.6
• /
• pp.29-40
• /
• 2017

Soswaewon as a typical villa garden of Korea is a symbolic garden that its diverse compositions imply a specific meaning. This study reviewed the purpose of introduction, meaning, and location of the landscape plants as one of the compositions and covering quite a large part of Soswaewon through 48 Yeong (meaning 48 poems of Soswaewon) and Soswaewondo (meaning Map of Soswaewon). In 48 Yeong, 27 verses describe landscape plants as their key poetic matters. The most frequently mentioned top 3 plants are bamboos, pine trees, and Japanese apricots. The three plants are called Sehansamwoo(歲寒三友) showing constant fidelity and loyalty in any changing situations, which was regarded to represent the nature of scholars. And also the study examined the frequency and planting location of the plants in Soswaewon by comparing 48 Yeong and Soswaewondo, and the result showed some differences between them. That seems to be caused by the limitations in the comparison, because in case of 48 Yeong, the location and frequency of landscape plants can be examined only through the context of the verses, and Soswaewondo showed different production time from 48 Yeong and expressed them only in a form of drawing. The plants have symbolic meanings multi-layered and ambiguous. With their symbolic meanings, the landscape plants reviewed through 48 Yeong consistently represent fidelity and loyalty, man of virtue, and hermit. That is, Soswaewon is the garden granting some significance to its compositions by interacting with the things.

• Journal of the Architectural Institute of Korea Planning & Design
• /
• v.34 no.3
• /
• pp.85-92
• /
• 2018

The purposes of this study are to analyze the spatial composition of the outer garden of Soswaewon that appears in Gyeong-Ji Yang's "30 Poems of Soswaewon" and examine its significance and symbols. These poems by Gyeong-Ji Yang are important historical records that portray the appearance of Soswaewon and the space outside it at the end of the 17th century. Unlike "48 Poems of Soswaewon" or "Soswaewondo," these poems arenot limited to Soswaewon and its surroundings; theyalso include areas from the village entrance upwardto the peak of the mountain behind the village. These poems can be divided into three main parts. Jiseok-ri and Changam-dong in poems 1 and 2 provide first impressions of the village in which the main Soswaewon garden is located, whereas poems 3 to 8 and poems 10 to 12 describe the space inside Soswaewon. Poems 13 to 30 depict the beautiful scenery around the outer garden of Soswaewon. In general, about 30% of the compilation in "30 Poems of Soswaewon" celebrates the inner Soswaewon, and the remaining 70% depicts the scenery around Soswaewon (i.e., views of the outer garden). It is presumed that Gyeong-Ji Yang employed this structure to achieve some type of order. Between the "48 Poems of Soswaewon" - also describing Soswaewon - and "Soswaewondo," which is a woodprint drawing of Soswaewon, "30 Poems of Soswaewon" offers the widest coverage of Soswaewon. Compared to "48 Poems of Soswaewon," which addresses the scene inside Soswaewon, new buildings such as the Jaeweoldang, Buhweondang, and Hancheonsa appear in "30 Poems of Soswaewon." Thus, the latter covers a much wider range. Chimgye Munbang - Gwangpunggak, Yangdandongo - Aeyangdang, Byeongseogjuggeun - Jajukchong, etc. are mentioned in both compilations. The use of a wide range of natural objects in these 30 poems, including mountains, birds, and the sky (instead of trees and flowers), shows that the author perceived Soswaewon as an area with a much higher and wider view than that of a typical living space. Moreover, natural regression ideologies, or seclusion ideologies, are evident.

• Proceedings of the Korean Society for Noise and Vibration Engineering Conference
• /
• 2004.05a
• /
• pp.1022-1027
• /
• 2004

Soswaewon is one of the most representative traditional garden in Korea which has the highest reach of soundscape with the sounds and landscape components. This study aims to find out and to introduce the characteristics of soundscape in Korean traditional garden and to establish the basic data of soundscape research. Literature survey, of ancient poetry, acoustical survey on the sound itself and questionnaire survey to the visitors were carried out to analyse the relationships between the images perceived by the visitors and the characteristics of soundscape components in Soswaewon.

• Journal of the Architectural Institute of Korea Planning & Design
• /
• v.34 no.4
• /
• pp.103-111
• /
• 2018

The Soswaewon Garden, which was constructed by Yang San-Bo around 1520, is a private traditional garden in Korea. Soswaewon Garden has long been and still is the focus of continuous research. However, relatively few studies have been conducted on the restoration of buildings that were lost in the past. The Goam-Jeongsa and Boohwondang buildings, which were lost in 1597 during the Japanese invasion, were restored in 1614 and depicted in a picture of Soswaewon Garden in 1755. However, they eventually disappeared and no longer exist in the present. Therefore, the restoration of these two buildings is considered an urgent task. This research aims to search for the original location of these buildings and estimate their size and shape in terms of physical space. Several years ago, an estimation of the building site was carried out, providing a stepping stone on this matter. This can be studied through "Soswaewon's 48 quatrains with five Chinese characters in each line," "Soswaewon-sasil," and "Soswaewon's drawing." Some parts of the shape of Soswaewon also appear in the "Yuseoseokrok," which is helpful. Thus, in this research, information on the Goam-Jeongsa and Boowondang buildings appearing in research results and literature to date are collectively analyzed. The location and architectural features of both buildings are identified by focusing on excavations. Also, for the purpose of restoration planning, base data on the location, size, and shape of both buildings are presented. In line with this process, a valid restoration plan is presented by analyzing the abovementioned historical research materials and comparing empirical data, such as excavation results.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.32 no.1
• /
• pp.63-73
• /
• 2014

This study was intended to analyze the correlation between the builder's intentions and the colors that are revealed through the analysis of the manifestation of symbolic colors as the signs and symbols that are shown in the traditional space of Soshaewon as one of the representative retreating villa gardens of Chosun Dynasty and the interpretation of the meanings. The research on the traditional colors and the intended background of Soshaewon and so on was conducted by examining the relative literature and the contents as the objects for the empirical analysis were the scenic beauties and spatial elemnts that are shown in the plan of Soshewon and the poems about Soshewon 48 scenes as well as the contents of the poems related to Five Primary Colors that are used based on "the Ideology of Five Elements of the Positive and Negative". Espectially, this study was conducted by dividing the spatial elements shown in Soswaewon broadly into the visual, synesthetic and symbolic & cognitive spaces in order to classify the locations and directions of the spaces and natural objects as the visual space, the seasons, the points of times and the five sensory organs as the synesthetic space and the "Four Moral Begginings" & the "Seven Emotions" of New Confucianism as the symbolic and cognitive space and by analyzing if there are any correlation between the decided intentions and the spatial meanings that are revealed by analyzing the system of five primary colors which are used in each spatial element.7) As a result from the analysis of the colors that are used based on the three spatial components of Soshaewon, it was found that one of Five Primary Colors were used 74 times in total. First, in the visual spatial component, one of the colors was used 18 times in total including 2 times of blue, 1 time of red, 6 times of yellow, 4 times of white and 5 times of black. The fact that yellow symbolizing the source of everything and white symoblizing cleanness and pureness are used relatively more often than blue and red symbolizing nature and life respectively can be interpreted that the builder, Mr. San-bo Yang's intention to build Soshaewon is related to the meaning symbolizing the pure will of the builder who wanted to seclude himself from society rather than to give priority to enjoying nature. Second, in the synesthetic spatial component which are selected from the 48 scenes of Soshaewon, one of Five Primary Colors was used 38 times in total including 11 times of blue, 8 times of red, 4 times of yellow, 5 times of white and 10 times of black. Since blue and red symbolizing nature and life respectively are used more often than yellow and black symbolizing the source of the world and pureness & knowledge respectively, it was interpreted that the builder means to be faithful to the unique basic functions of the retreating villa with which the builder wanted to enjoy his passion for enjoying nature and exploring knowledge even though the builder built the villa garden for the purpose of keeping himself pure while being unstained by the world. Finally, it was analyzed that one of Five Primary Colors was used 18 times in total including 4 times of blue, 5 times of red and 9 times of white in the symbolic and cognitive spatial components of the 48 scenes. Since it was found that white symbolizing the builder's political pureness is used at the same frequency as blue and red symbolizing nature and life respectively are used as a result from the analysis, it was interpreted that the intention of creating Soshaewon was emotionally revealed at the same percentage in the aspects of his political pureness and enjoyment of nature through his poems. Especially, as a result from such 3 kinds of analyses regarding to the frequency of using Five Primary Colors, it was found that the number of times using Five Primary Colors in the synesthetic spatial component was 38 as the highest percentage, around 51% followed by each 18 times as the24.5% respectively in the visual and cognitive & symbolic spatial spaces. Based on such results, it can be interpreted that the builder, Mr. San-bo Yang's intention of creating Soshaewon sympolizes that his intention for enjoying the basic nature and the vitality of nature within the retreating villa garden is hidden at the same proportion as his intention for keeping himself pure from the unrightful world. It was intended to reveal the traditional colors which are hidden in a traditional retreating villa by analyzing the correlation between the symbolic meanings and the spatial components of Soshaewon based on the Five Primary Colors which are originated from the "Ideology of the Five Natural Elements of the Positive and Negative", but it is thought that it is possible to explore whether such a theory can be generally applied to other kinds of retreating villa gardens or not through a study on other retreating villa gardens as other examples in which the builder's apparent pure intentions, such as enjoyment of nature and persuit of study, etc., unlike Soshaewon are hidden.

• Journal of architectural history
• /
• v.14 no.4 s.44
• /
• pp.29-39
• /
• 2005

The Honam region has played an important role in the development of Korea poetry. So this study focuses on Song Soon among various factors of Honam architecture in 16th century. He was ahead of his times in development of Korean literature, and made buildings that become background and materials of his literature. Song Soon built Myonang-jong in Damyang for his life time and tried to design to pull in nature into his buildings. These buildings were built in beautiful landscape, and showed elegance as a retired scholar and Taoism characteristics. He provided basic ideas, that is, pulling in nature into architecture, and metaphysics morality, and his ideas also influenced Honam School Including Jung Chul. This study looks into Nujung architecture that had become materials of Myonang-jong Song Soon literature and characteristics of Honam architecture through his buildings at the same time.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.28 no.2
• /
• pp.75-85
• /
• 2010

The purpose of this study is to attempt new analysis on Soswaewon Garden(瀟灑園) where is Korea's traditional garden, focusing on which the tendency of its change is a relational-formation tool similar to the Eastern Mode of Thought, with paying attention to conversion as the new view of world. Accordingly, the aim is to reanalyze by connecting with Soswaewon Garden based on the theory of complexity, which tries to look at the whole through relationship rather than characteristics in individual components. Given summarizing findings, those are as follows. First, it was found that complexity shown in space and open system of physical dimension was characterized by 'event(situation)', 'non-determination' and 'homogeneous relationships between part and whole', and a variety of techniques introduced the nature positively. In particular, it was found that there were many cases of topographic usage, since the Soswaewon Garden selected its construction site proactively and was a product from architectural works in compliance with a given flow of natural topography. This has a nature of open text in the situation of emergent behaviors. Second, it was found that complexity shown in experiences and open system on the invisible dimension was characterized primarily by 'event(situation)' and 'relationships of interactive response between actors and environment', and various techniques appeared as a space for interactive combination of nature and daily experiences. This is typical of bilateral harmony based on interactions between subject and object, and between mankind and nature, and becomes also a space to accommodate temporary emergent behaviors in our life. Third, the compositional elements are reconstituted as space of organic property with dismantling steady relations. Especially, 'Soswaewon Garden's 48 poems(瀟灑園四十八詠)' will be the origin of the emotionally spatial experience to the current performers. Ultimately, the performer in the space of Soswaewon Garden simultaneously becomes a creator of space, and will generate new space with intertextuality with environment. Therefore, Soswaewon Garden becomes a place of binding me and the other together while maintaining mutual relationship based on organic thinking between a human being and nature and between the whole and a part.

• Journal of architectural history
• /
• v.24 no.6
• /
• pp.21-33
• /
• 2015

This study aims to rediscover the meaning and value of Soswaewon construction represented in Kim In-Hu's 48 poems on the basis of the concept and idea of soundscape. It classified the landscape resources through the various emotional elements such as the sense of sight, hearing, smell, touch, taste, and warmth described in the 48 poems of Soswaewon, and also interpreted the meaning and value of Soswaewon construction. Appreciating various sounds of Soswaewon, Kim In-Hu understood a sound as an important element of the landscape. Also, he abundantly wrote down the interesting changes of Soswaewon which vary depending on time or seasons. The 48 poems contain the scent and feel of Soswaewon as well as the soundscapes which can be heard with ears. A variety of sounds heard in Soswaewon are the whole senses which are combined with the chill of Soswaewon, the fragrance of trees and the mystery of the mountain, etc, and they mean the wider world much more than the value of physical sounds. Soundscapes of Soswaewon are becoming an emotional space which intactly conveys not only the musical inspiration but also the scent of life to us.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.21 no.3
• /
• pp.11-19
• /
• 1993

This study was intended to clarify the landscape characteristics of the Sosewon Gaden through interpreting the Kim, In Hu's 48 poems(in Chinese characters) which clearly represented the landscape image of th user about this garden by selecting the cultural position of how then the users of the garden interpreted and manipulated its landscape rather than the scientific position. The following were the results from the analysis and review of the review of the woodcut and the 48 poems through names and scenic element. 1. When analyzing the names, those names due to the human experience were the most. This revealed that sensitive perception and experience was emphasized in the garden life. 2. It was important that can be experienced as nature and human beings come in contact each other at stream. 3. The landscape of the Sosewon Garden empasized not only the elements of the form and their combination but also on the unusual experience of human behavior and climatic element. The elements of the form which was recognized as the subject of poet was regarded as the cultural one of this garden and had an ideological background to convey the meaning of the landscape. 4. The Sosewon Garden was divided into four characteristic spaces as it is considered in terms of the sense of place represented in the 48 poems; the approach space, the space for poetic recital, the ideal space, and the space of pleasure.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.36 no.4
• /
• pp.94-104
• /
• 2018

This study examined photogrammetric reconstruction techniques that can measure the original form of a cultural property utilizing photographs taken in the past. During the research process, photographs taken in the past as well as photograph on the internet of Soswaewon Garden in Damyang(scenic site 40) were collected and utilized. The landscaping structures of Maedae, Aiyangdan, Ogokmun Wall, and Yakjak and natural scenery Gwangseok, of which photographs can be taken from any 360 degree direction from a close distance or a far distance without any barriers in the way, were selected and tested for the possibility of reproducing three-dimensional shapes. The photography method of 151 landscape photographs (58.6%) from internet portal sites for the aforementioned five landscape subjects containing information on the date the photograph was taken, focal length, and exposure were analyzed. As a result of the analysis, it was revealed that the majority of the photographs tend to focus on important parts of each subject. In addition, we discovered that there are two or three photography methods that internet users preferred in regards to each landscape subject. For the purposes of the experiment, photographs in which a single scene consistently appears for each landscape subject and it was determined that there was a high level of preference related to the photography method were analyzed, and three-dimensional mesh shape model was produced with a photoscan program to analyze the reproducibility of three-dimensional shapes. Based on the results of the reproduction, it was relatively possible to reproduce three-dimensional shapes for artifacts such as Ogukmun wall, Maedae, and Aeyangdan, but it was impossible to reproduce three-dimensional images for natural scenery or an object that has similar texture such as Yakjak and Gwangseok. As a result of experimentation related to the reconstruction of three-dimensional shapes with the photographs taken on site using a photography method similar to that of the photographs selected as previously mentioned, there was success related to reproducing the three-dimensional shapes of Yakjak and Gwangseok, of which it was not possible to do so through the photographs that had been collected previously. In addition, through comparison of past and present images, it was possible to measure the exact sizes as well as discover any changes that have taken place. If past photographs taken by tourists or landscape architects of cultural properties can be obtained, the three-dimensional shapes from a particular period of time can be reproduced. If this technology becomes widespread, it will increase the level of accuracy and reliability in regards to measuring the past shapes of cultural landscape properties and examining any changes to the properties.