• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.37 no.3
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• pp.93-107
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• 2019

The purpose of this paper is to explore the application of Chinese traditional garden space construction principle studied by predecessors in modern park landscape, and to find more methods of traditional garden space construction inheritance and innovation through research. Tian Chaoyang's book "Fifteen Lectures on Chinese Classical Gardens and Modern Translation" mentions that Chinese traditional gardens are combining time and space, so he draws a brief pattern diagram containing the principle of the space construction. According to this principle of space construction, the researchers chose Qujiang Pool Heritage Park, which combines modern and traditional, then analyzed its spatial structure and and space elements. The results are as follows. The complex spatial structure of the park is composed of spatial boundary lines and spatial routes. The complex boundary space is composed of bridges, squares, plants, rows of buildings and other elements. The water space in the center of the park is designed in accordance with the traces of the historical water system, and its natural zigzag shoreline expands the water space. The central water space is divided into the big pool and the small pool, the Yanbo island and Bird island are created respectively. The building at the park boundary connects the park's interior and exterior. Most of the buildings in the park are located in the convex corner of the route or space. Through this research, it can be concluded that Qujiang park also applies the space construction principle combining time and space. And then, the garden elements of Qujiang park are recreating the history and culture of Qin, Han, Sui and Tang dynasties with modern methods, thus creating a park with Chinese regional characteristics. Since the Tang dynasty was the most prosperous period in Qujiang, the park was dominated by Tang culture. Through the research of this paper, we can see that the space construction principle of Qujiang Pool Heritage Park is the inheritance of the space construction principle of Chinese traditional garden. And the landscape element of Qujiang park is the landscape created by combining traditional history and culture, which is the innovative part of modern garden. Through this study, the creation of modern landscape with Chinese characteristics can provide some hints on the direction of inheritance and innovation.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.2
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• pp.109-117
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• 2010

This study conducts a case analysis based on the Olympic Forest Park in Beijing, which is specially designed for the 2008 Beijing Olympic Games. The construction of the Olympic Forest Park not only comprises the design philosophy of city parks and forest parks, but also applies Chinese traditional design elements. This study, first, researches on the design concepts of city parks in the context of traditional landscape architecture elements from both physical and cultural perspectives. The author studies the related materials including the"General Introduction of the Beijing Olympic Forest Park Landscape Plan", and employs the approaches of site investigation and user survey and interview, to analyze the cognition and preference degree of the various traditional design elements displayed in the Olympic Forest Park. To quantize the survey data on the Olympic Forest Park, this study uses the spss(v17.0) software to run a frequency analysis and presents detailed demographic, frequencies and means analyses. The author then reaches the conclusion on the preference degree of the various Chinese traditional design elements in the Olympic Forest Park. According to the analysis result, the elements that appear with the highest frequencies are mountains and waters, traditional garden plants and artistic conception. The most favorable elements are in sequence traditional garden architecture, traditional garden philosophical thinking and artistic conception. The Olympic Forest Park in Beijing is constructed on the basis of multiple design elements, comprising Chinese traditional design elements and the historical axis. As an exemplification of contemporary city park that reflects the variation of age and development of society, the Olympic Forest Park offers the reference for the selection of traditional design elements in the future schemes of city parks. However, due to the difficulty in gathering materials about the Forest Park and the limitations on the location and time constrain of the survey, there exists lack of sufficiency that could be improved in the future.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.35 no.1
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• pp.36-47
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• 2017

In this research, sematic comparative study on formative idea and landscape elements composition was made between Soswaewon which was a remote villa garden in Joseon Dynasty and Canglang Pavilion which was built at a time when Neo-confucianism had been created in Song dynasty. From which the summary was resulted as below: Firstly, Soswaewon was fully devoted to Neo-confucianism among Korean remote villa gardens, Canglang-Pavilion was deeply affiliated with Neo-confucianism the deep-rooted thought. Adding a comment, as a richly historied Chinese private garden it was the best preserved even now and the farmost point from now and approximately 500 years advanced than Soswaewon, moreover Sosunheum the builder belonged to gentry society in Song dynasty. Secondly, Both Soswaewon and Canglang-Pavilion were remarkable thank to nature friendly concept which was deeply rooted in the eremitic thought(隱逸思想). Most of all, it might be interpreted the location of Soswaewon lay down in a mountain, as to be swallow hidden(小隱) but that of Canglang-Pavilion lay down in a city, as to be middle hidden(中隱). Thirdly, approaching with comparative study to gardens' factors implicated in symbolization when naming both Soswaewon and Canglang-Pavilion, neo-confucianism in Song dynasty in which diverse thoughts ranging Confucianism and Buddhism and Taoism had formed ensemble and developed was deeply built in Soswaewon, as to be in consistency to nature and to be a basis for comprehending diverse symbolization factors found in Canglang-Pavilion. Fourthly, given that forms or factors of gardens was tangibly came up with thoughts' variation we surely underwent to comparative study. Through which we could know Soswaewon was made by maximizing use of nature but minimizing addition of artificial things. In other words, it was trial of expressing semantic feature of the site in a way blending natural circumstance and liberal one. One of the representatives, Daebongdae in Soswaewon was a site where the owner's idea came up with. Scenary was recreated and nature was represented in interspace of Canglang-Pavilion with the high wall around the border, for which it renounced the world. To the end, it was understood there was the location characteristic of Canglang-Pavilion which let us look down from mountain and take some time for introspection. It might be said that the cultural root was in common between Korea and China, however it was found there were lots of differences in forms and features of gardens. We were able to interpret that social and cultural background were led to gardens' formation in which individual characteristic of two nations were blended, from which difference was resulted.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.37 no.3
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• pp.83-92
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• 2019

This study aims to examine at the garden characteristics of salt merchant in Yangzhou, China during the Ming and Qing Dynasties, I looked at the background of garden formation through the literature. In addition, analyzed the garden design method and components of salt merchants. The results were as follows; First, the Yangzhou area in the past has achieved cultural and economic development with the establishment of the ancient Grand Canal. Salt merchants accumulated wealth through trade, and created many gardens under the background of securing materials for create garden through trade, forming political forces through the cultivation of students, and inflow of foreign cultures. Second, salt merchants in Yangzhou asked garden experts to design and create the garden as a place for exchange and relaxation. Also, through the production of landscape changes using Gasan(假山) and a long corridor(長廊), clear classification of spaces using architectural elements, and the placement of buildings in scenic areas adjacent to the water, the gardens with practical and aesthetic functions were owned. Third, the gardens of Yangzhou Salt Merchants have a building-oriented commercial space on the front, and a garden-centered design characteristic on the back. The garden of the commercial zone was built in a simple form using pots, oddly shaped stone, bamboo and fence patterns in the remained space, focusing on the front of the building. The garden at the back formed a curved waterway connected to the canal is refracted across the garden. The garden also features piled stones(疊石), stone bridges and ship-shaped stone building(石舫). In addition, the design reflected the introduction of trees that take into account the climate and color contrast of Yangzhou province, pavement of various materials and patterns.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.41 no.4
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• pp.21-29
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• 2023

The Northern Song Dynasty, the heyday of cultural and artistic achievements, brought significant changes to the history of gardens in China. The developments and contemplations that had evolved during the previous Tang Dynasty became intertwined with literature, painting, and art, leading to garden being perceived as works of art. In particular, the emergence of Su Shi(蘇軾) that permeated literature and art during the Northern Song Dynasty, had an impact beyond individual garden creation, influencing the development of public gardens and the diversification of garden. His long exile periods served as an opportunity to understand and reflect the local culture and characteristics, influencing the development of the garden. This study focuses on the ideology of Su Shi(蘇軾) that managed various gardens, examining the relationship between his exlie life and ideology. To do so, the study examines the form of the literati's gardens managed by Su Shi(蘇軾), with a particular emphasis on the Baiheju(白鶴居) garden in Huizhou, revealing the following characteristics and values. First, Su Shi(蘇軾), who was proficient in the Three Houses: Confucianism, Buddhism, and Taoism, combined his philosophy and unique perspective techniques with the location and composition elements of Baiheju(白鶴居) to enjoy the landscape. Although the ancient residence has a simple form, it possesses expansiveness through the combination of internal and external views. The interior is designed to be perceived as a single space, but it allows overlapping experiences of space and simultaneous appreciation of different sceneries. On the other hand, the spatial layout incorporates a hierarchical order to establish a sense of order. Second, the garden reflects the local characteristics, featuring numerous tropical plants and presenting vibrant and contrasting colors with structures. The planting forms embrace the concept of "huosei seikou" (活色生香) to enhance the color harmoniously. Additionally, the garden incorporates the poet's spiritual world, projecting it onto the garden as a contemplative place for spiritual nourishment and exploration of the ideal realm. For the pursuit of serenity and profound contemplation, the selected plantings are simple yet distinctive, providing rhythm and depth to the garden space. Third, Baiheju(白鶴居) has undergone changes over the years, but fundamentally, the form and elements of the garden shaped by Su Shi(蘇軾)'s descendants persist, confirming its heritage value.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.2
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• pp.36-48
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• 2015

This study aims to contemplated the enjoying culture of Gyeonghwasejok's garden in late Joseon dynasty. It was track down the behavior from cultural perspective by using recorded in literature. The results were as follows. First, Gyeonghwasejok was the main principal of the garden at Hanyang in Joseon Dynasty. There are established residence in the downtown and make a garden. Garden organizer recognized to fine conditions of residences even crowded downtown. As a result people tried to include habitation and garden culture for preserve their cultural benefit. Secondly, Seongsisanrim culture has appeared of common in site selection of garden for occupies the scenic beauty. Garden was surrounded by scenic beauty. Garden organizer was formed archival culture for owning the beautiful landscape through creation of guguk(九曲), designation of space and lettering on rocks. Thirdly, Formation of the collection culture was placed of various ornaments inside garden. A behaviour of landscape view and ornaments appreciation led to the archival culture such as Won-rim-gi(園林記) and essay(小品文). Moreover, hold a friendship meeting for sharing garden culture. Fourthly, Attention of flowering plants was extended to development of gardening hobby such as fashion of pot-planting, planted to exotic tree. It was know that the plants are recognized as favorite elements by target of appreciation according to introduction of plants inside garden. In addition, facility of horticulture and kitchen garden were placed inside garden. Fifth, Influx of chinese garden culture influenced construction of garden space in late Joseon dynasty. Garden organizer recognizes garden as a ideal space by garden aesthetics that Hojungcheonji(壺中天地). And the imitation of Chinese garden culture such as collecting of Chinese's ornaments has become a high-level culture.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.4
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• pp.59-69
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• 2011

In this study I examined the status of the borrowed scenery of Soshaewon and analyzed the structure of Byeolseo Gardenusing "Soshaewon Sisun(瀟灑園詩選)", which consists of a collection of poems written by people who visited Soshaewon during Joseon Dynasty with bibliographical explanations and "the Thirty Poems of Soshaewon", written by Yang, Gyeong Ji who was the fifth generation from Yang, San Bo. This study expanded the concept of borrowed scenery to include visual, synaesthetic, temporary and ideal features based on the theory of borrowed scenery in "Won Ya(園冶)", which emphasized the time feature and change, and explained that a landscape garden could be perfected by the presence of borrowed scenery beyond the previous borrowed landscape which was recognized through visual value. It would be correct to understand that the visitors to Soshaewon accomplished imaginary scenery(意境) through recreating Soshaewon into a space that stimulated poetic sentiment and aesthetic sensitivity by creating four types of borrowed scenery of a landscape garden composed of both real and fictitious scenery. At present the scope of Soshaewon tends to be limited to its inner garden covering the stream garden. However, in this study I took a new approach in defining the scope of Soshaewon, providing three types of Byeolseo Garden area ; more specifically, the expanded scope of Soshaewon covers the outer garden that secured the outlook of visual, temporary and synaesthetic objects for borrowed scenery and the right to use by purchasing more area by the descendants and the ideological garden that was composed of the ideal borrowed scenery created by the Confucian friends and colleagues who praised the Jeungamcheon Stream area and various famous mountains longing for the immortal world.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.3
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• pp.48-57
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• 2018

In this study, we conducted an analysis on the actual field materials and the ancient text of January 2017. First, Yuyin ShanFang is one of the famous garden in the Lingnan Region, and its total area is $1598m^2$. Wobin called the name 'Yuyin(餘蔭)' meaning the virtues of his ancestors. Second, if we analyze the poem written by Wobin, we can classify it as a phrase expressing the world beyond the future, a poem expressing the ideas of family and romantic ideas. Third, the space spread to the south around the shrine building in the middle of the site was largely a residential space, according to the analysis of the site's layout and spatial composition. Fourth, the spatial component of the hydronic acid is analyzed. The pavilion area is the Hanchwi-Pavilion, which is designated in the Wongrim, and Gyesang-Pavilion, which is a unique range that describes the peak of the garden. Fifth, Yuyin ShanFang has five ponds that are very diverse in shape. It is characteristic of us to stand on a technical boundary. Sixth, Seokgasan was referred to as Gyeongbansan, which was named after The builder Wobin and his descendants who passed it. Seventh, Hwachang is characterized by a wooden bull window and a compound glass. Eighth, the alumni style is not as diverse as the alumni style of the Suzhou traditional garden, but it features various forms and colorful pictures on the front of the alumni. Ninth, the one-piece sculptures of the interior of a building are expressed themes such as Gilsang, Sukjeong, Daoism, Palseom, and others. Finally, Trees planted in Yuyin ShanFang are mostly tropical plants, and some of them have symbolic meaning. Because the weather here is good for growing fruit, so planted a lot of fruit trees.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.38 no.3
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• pp.11-24
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• 2020

The purpose of this study was to re-examine the neglected and forgotten Cheongdo Geoyeonjeong, to correct the wrong contents, examine the changes and conditions of the garden, and to establish basic data on the components of the forest in the future. In addition, it was extended to the Gongampungbyeog Cliff, the influence area of the Geoyeonjeongwonlim, and the results of the study were as follows; First, Based on the recitation of "Seonyu pungryu(仙遊風流)" in the "Cheongsuheon-yugo(聽水軒遺稿),", Dongchangcheon Stream and Gongampungbyeog(孔巖楓壁) were influenced by the outer gardens of the Georyeonjeongwonrim. Second, Small pavilion was built and arranged under the rock of Byeongam(Byeongpungbawi) in the management history of Geoyeonjeong Pavilion. The records show that Cheongsuheon used the Geoyeonjeong Pavilion as the original forest and even recognized Oewon, which is a scenic influence, as the Gongampungbyeog Cliff. Third, Many of the poems related to Gongam were recognized as Seunggyeong, which represents the Unmun area, and the eight scenery of Cheongdo and Unmungugok were established here as proof that Gongampungbyeog Cliff was very faithful to the traditional Seunggyeong aspect of Gongampungbyeog Cliff, and the crystalline structure of the location was implied as an external source of Geoyeonjeongwonlim. Fourth, The lower part of Dongchangcheon Stream, which stretches from Geoyeonjeongwonrim to Gongam, is filled with attractions consisting of cancerous areas such as Punghodae, Moseongam, Buangdae, Gokcheondae, Saganjeong, Hakgadae, and Hyeongjeam, which provide a clearer picture of the space and landscape of the Geyeonjeongwonrim Outer Garden. Fifth, The expression "dragging water, spilling it into the courtyard, and sending it back to the downtown of the field" of the Cheongsuheon-yugo suggests that the site of Geoyeonjeong Pavilion was originally a prevention. It is also inferred that Cheng Shu-heon also wanted to respect runners and pursue natural views like runners. Sixth, The record of planting a description of spring water and willow trees in "Geoyeonjeong Manyeong(居然亭晩影)」" and "Sanggukseol(霜菊說)」" suggests that the chrysanthemum was planted and planted, and that the chrysanthemum was used to describe the Osanggojeol(傲霜孤節), which means that he would not yield and keep his incision alone despite severe frost. Seventh, It is believed that the writing was written by Cheongsuheon in 1844 during the period of the creation of the Wonrim. The rock letters on the floor of Geoyeonjeong suggest the names of the receiving and the winning prizes. Most of the passages are based on nuclear power plants, including Muidogyo of the Zhuzi, and most of them incorporate the virtues of the Gunja and the natural views of the Eunja. In addition, the rock writing 'Gyeong(敬)' or 'Uidang(義堂)' is a substitute for special worship objects or introspection, adding to the significance and scenic properties of the Georyeon Garden Forest.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.3
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• pp.106-115
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• 2011

This study, based on (edited in 18th century), analysed the landscape system and cultural landscape elements of Yuhoidang(Hageowon 何去園) Garden in Musu-dong, Daejeon, and the findings are as in the following. YuHoidang(Gwon Yijin 權以鎭) managed Hageowon Garden in Musu-dong, located on the southern branch of Mt. Bomun, to realize his utopia. The completion of Hageowon Garden was only possible due to his installation of a variety of facilities in family gravesite on the hill behind his house: Shimyoso(Samgeunjeongsa 三近精舍, in 1707), Naboji(納汚池, in 1713), Banhwanwon(in 1714) and expended exterior space(in 1727). With regard to the landscape system of the village, the main range of mountains consists of Mt. Daedun, Mt. Odae and Mt. Bomun. The main high mountain of the three is Mt. Bomun, where 'Blue Dragon' hill branches off on the east side(Eungbong), 'White Tiger' in the west(Cheongeun and Sajeong) and Ansan(inner mountain) in the south. The landscape system is featured by 'mountains in back and rivers in front'. The river in the south-west, with its source in Mt. Juryun is called as the 'Stream of outer perfect spot', while the 'Stream of inner perfect spot' rises from Eungbong, passing through the east part of the village into the south-western direction. Banhwanwon Garden(盤桓園) was created with the stream in the east and natural bedrocks, and its landscape elements includes Naboji, Hwalsudam, Gosudae, Sumi Waterfall, Dogyeong(path of peach trees), Odeeokdae(platform with persimmon trees), Maeryong(Japanese apricot tree), springs and observatories. An expanded version of Banhwanwon was Hageowon garden, where a series of 'water-trees-stone' including streams, four ponds, five observation platforms, three bamboo forests and Chukgyeongwon(縮景園) of an artificial hill gives the origin forest a scenic atmosphere. When it comes to semantics landscape elements, there are (1) Yuhoidang to cherish the memory of a deceased parents, (2) Naboji for family unification, (3) Gosudae to keep fidelity, (4) Odeokdae to collect virtue and wisdom, (5) Sumi Waterfall to aspire to be a man of noble character, (6) Yocheondae for auspicious life, (7) Sumanheon and Gigungjae to be in pursuit of hermitic life, (8) Hwalsudam for development of family and study, (9) Mongjeong to repay favor of ancestors, (10) Seokgasan, a symbol of secluded life, (11) Hageowon to enjoy guarding graves in retired life. The spatial composition of Hageowon was realized through (1) Yuhoidang's inside gardens(Naboji, Jucheondang, Odeokdae, Dogyeong, Back yard garden and others) (2) Sumanheon(收漫軒) Byeolup or Yuhoidang's back yard gardens (Seokyeonji, Yocheondae, Sumanheon, Baegyeongdae, Amseokwon and others) (3) Chukgyeongwon of the artificial hill(which is also the east garden of Sumanheon, being composed of Hwalsudam, Sumi Waterfall and Gasan or 12 mountaintops) (4) the scenic spots for unifying Confucianism, Buddhism and Taoism are Cemetry garden in the back hill of the village, the temple of Yeogyeongam, Sansinkak(ancestral ritual place of folk religion) and Geoeopjae(family school). On top of that, Chagyeongwon Garden(借景園) commands a panoramic distant view of nature's changing beauty through the seasons.