• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.32 no.2
• /
• pp.167-179
• /
• 2014

This study fundamentally is to develop standards and foundations for the establishment of traditional Korean gardens and aims to identify the mechanism and subsequent effect of fair gardens in American and Europe on the propagation and diffusion of the traditional Japanese garden. Fair gardens which were constructed between 1867 and 1939 were investigated to understand them and the ripple effect that they had on cultural dissemination. The results were as follows: Culturally, the Meiji government adopted Wagener's advice on the theme of display- including culture and handicraft-and the gardens with traditional buildings were perceived as one unit and then used as promotional tools as part of a national strategy. As a result, the stroll style garden in the Edo period and tea garden were recognized as the representative Japanese garden in America and Europe. Politically, the Japanese garden in the American context was adopted as examples of 'exotic beauty' and 'cultural heritage' which therefore allowed the Japanese government to achieve it's goal of encouraging friendly relations and the lessening of hostility towards them. Throughout the traditional Japanese garden, Japan with it's rich history presented an ideal - uniquely distinctive from the West. Using 'tradition' and 'nature' as keywords, the Japanese government set it's global image as 'perpetual tranquility'. Socioeconomically, the Japanese garden which was maintained after the fair, played a consistent role as a model of the Japanese culture. Many professionals from Japan who prepared the Japanese villages and gardens for the world fairs in America and Europe, remained in these countries following construction and it were these opportunities that allowed the Japanese garden to be integrated into local Western society.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.36 no.1
• /
• pp.67-77
• /
• 2018

This study investigated the recognition of Koreanesss, preference factors and the difference of recognition from adjacent Chinese and Japanese gardens for foreign visitors of Seoul gardens, a Korean traditional garden located within the Marzahn garden in Berlin, Germany. Overall, the Chinese garden and the Japanese garden were better known to most visitors than the Seoul garden due to their earlier construction. The awareness of the specialty to the Korean garden was at an average level indicating most visitors did not recognize the difference among the traditional gardens constructed from other countries. These less awareness on the Korean garden was because the traditional gardens of the three countries are located adjacent to the park in a continuous landscape with similar plant species created through natural planting techniques. This means the Korean garden is required for considering diversity and representativeness of planting species, uniqueness in space composition and recognition of Korean oriental garden culture in an initial design project stage. Visitors without prior information has better understanding on Korean garden and higher revisit intention resulting in increasing publicity and understanding of Korean traditional garden. Among the preference factors representing Koreaness of the Seoul gardens, the waterfall, stream, pavilion and natural stone within the water landscape were visitors favorite interests due to design concept with a representative Korean stream scenery of Dokrack-dang and Byeolseo garden resulting in differences from the landscape displaying technique for other oriental gardens. These stylistic differences in the dominant landscaping of garden architecture from surrounding the physical environments, the garden displaying technique derived from Korean natural landscape can be recognized as an unique garden element for foreign visitors.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.41 no.3
• /
• pp.59-66
• /
• 2023

This study attempts to examine the process of establishing a Japanese-style garden in the modern period through the perspectives of garden designers, spatial composition, spatial components, and materials used in their works, and to use it as data for embodying the identity of Korean garden. The results are as follows: First, by incorporating elements associated with Koreanness into the modern garden culture, there are differences in location, presence, and subjectivity when compared to Japan. This reflects Japan's relatively seamless cultural continuity compared to Korea's cultural disconnection during the modern period. Second, prior to the modern period, Japan's garden culture spread and continued to develop throughout the country without significant interruptions. However, during the modern period, the Meiji government promoted the policy of 'civilization and enlightenment (Bunmei-kaika, 文明開化)' and introduced advanced European and American civilizations, leading to the popularity of Western-style architectural techniques. Unfortunately, the rapid introduction of Western culture caused the traditional Japanese culture to be overshadowed. In 1879, British architect Josiah Condor guided Japanese architects and introduced atelier and traditional designs of Japanese gardens into the design. The garden style of Ogawa Jihei VII, a garden designer in Kyoto during the Meiji and Taisho periods, was accepted by influential political and business leaders who sought to preserve Japan's traditional culture. And a protection system of garden was established through the preparation of various laws and regulations. Third, as a comprehensive analysis of Japanese modern gardens, the examination of garden designers, Japanese components, materials, elements, and the Japanese-style showed that Yamagata Aritomo, Ogawa Jihei VII, and Mirei Shigemori were representative garden designers who preserved the Japanese-style in their gardens. They introduced features such as the creation of a Daejicheon(大池泉) garden, which involves a large pond on a spacious land, as well as the naturalistic borrowed scenery method and water flow. Key components of Japanese-style gardens include the use of turf, winding garden paths, and the variation of plant species. Fourth, an analysis of the Japanese-style elements in the target sites revealed that the use of flowing water had the highest occurrence at 47.06% among the individual elements of spatial composition. Daejicheon and naturalistic borrowed scenery were also shown. The use of turf and winding paths were at 65.88% and 78.82%, respectively. The alteration of tree species was relatively less common at 28.24% compared to the application of turf or winding paths. Fifth, it is essential to discover more gardens from the modern period and meticulously document the creators or owners of the gardens, the spatial composition, spatial components, and materials used. This information will be invaluable in uncovering the identity of our own gardens. This study was conducted based on the analysis of the process of establishing the Japanese-style during Japan's modern period, utilizing examples of garden designers and gardens. While this study has limitations, such as the absence of in-depth research and more case studies or specific techniques, it sets the stage for future exploration.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.33 no.3
• /
• pp.50-57
• /
• 2015

A traditional garden in Korea has diverse cultural, historical values, such as the then phases of the times, life phase, culture and art, etc. because it was developed on the basis of the harmony between nature and artificial structures. However, in reality, it's urgent to do efficient, continuous maintenance of traditional gardens which are being damaged and lost due to the problems like an owner's aging, inheritance, and lack of management, etc., especially in case of private property which was designated as a cultural property among such traditional gardens under the Cultural Properties Protection Law. Accordingly, this study conducted this research in a bid to use these research results as basic evidentiary materials for suggesting directivity in introduction of park planning of traditional gardens in folk houses in the near future by implementing the case investigation of transformation into public parks from traditional private gardens in Japan, which is putting the newly introduced park planning to efficient use, together with its systematic management, and the survey on domestic traditional gardens in folk houses status, as well as the hearing-based survey on a traditional gardens in folk houses owner's level of willingness to accept the introduction of parking planning. As a result, this study could confirm that in case of traditional gardens in Japan, they are mobilizing the revenue from admission fees for traditional gardens maintenance by incorporating the main entity of possession, and Japan is promoting transformation of traditional gardens into parks on the basis of use and preservation through the connection with local governments and research institutes. In addition, as a result of surveying domestic traditional gardens in folk houses, it was found that most of the garden owners had hardships in its management, and they were positive about systematic maintenance of gardens through park planning.

• Journal of Forest and Environmental Science
• /
• v.19 no.1
• /
• pp.39-47
• /
• 2003

The purpose of this study is to investigate how the three korean traditional gardens in France and Japan were representing the tradition by comparing and reviewing them. The concerns for analysing the korean garden made in foreign counties were focused on issue of a representation. Representing a Korean garden into three foreign parks depends on the manner of a representation. their objects and media. We found the characteristics through analysing the korean gardens that traditional elements such as a traditional pavilion, fence, madang, chosan and hwagye were generally chosen as essential elements for representing the korean tradition.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.38 no.2
• /
• pp.31-41
• /
• 2020

Since its foundation in the unified Silla period, Sunam Temple in Jeollanam-do has well preserved its reputation as a representative temple in Honam. However, during the course of history as the temple went through many changes and development, much of its landscape identity were lost or damaged. At present, we found that some of distinctive features as traditional Korean temple are lost or damaged in Sunam temple and in some cases, Japanese style features were applied which calls for urgent restoration to the original landscape style. We found that vegetation pattern of Sunam temple was quite different from those of traditional Korean temples and garden components were rather similar to Japanese garden style. There are two reasons why these changes occurred to Sunam-temple. The first reason is changes made to the temple by Japanese people during the Japanese occupation period in Korea. The second is the renovation effort of the entire temple in 1976. The study aimed to examine landcape changes of Sunam temple in detail and understand Japanese style landscape components and methods applied to the Sunam temple to untimately understand landscape identity of Sunam temple. On-site research, literature research and interviews with monks were conducted and we found that Sunam-sa Temple was significantly influenced by the landscape style of Japan, and that more Japanese-style landscapes were produced while trying to hide these elements. However, this study was limited in understanding the very original landscape form of Sunam temple before the Japanese coloniral era.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.31 no.3
• /
• pp.45-53
• /
• 2013

The purpose of this thesis is to identify the gardening method of Mus${\bar{o}}$ Soseki by looking into his works. Through this research, life and religious values of Soseki were studied, which gave a better understanding of the garden architect as an individual and seeker of religious truth. Among his works, the most widely known-four ponds, Eiho-ji, Erin-ji, Saiho-ji and Tenryu-ji were studied. The research found that based on the Zen of Buddhism, Soseki symbolized various philosophical ideas into space structures. In addition, through two gardening components, stone buildings and tributaries, he specifically materialized related themes. An absolute religious aesthetics of the creator could be found in the stone buildings that expresses the world of Buddhism and the Chinese letter 'Sim'(heart)-shaped tributaries. By experimenting new method away from a Chinese-style Japanese garden which was widely popular during his time, Soseki devised a garden as residential quarters of a high priest that can be set aside entirely for Zen-study, which became to represent Japanese garden style. If Soseki's gardening method had not been adopted, Japanese gardens could not have been developed as a personal garden that contains symbolic concepts. Unfortunately, in this study, to think of another Zen monk and Mus${\bar{o}}$ Soseki did not study is to compare. also the study on how another Zen monk and Mus${\bar{o}}$ Soseki's compare has to be continued.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.38 no.3
• /
• pp.83-91
• /
• 2020

The purpose of this study is to examine the process of formation of modern gardens. Based on the analysis of the process of formation and transformation of the Jemulpo in Incheon and the details of the modern garden construction. The results are as follows; First, the formation of the Incheon Residence Site began in 1876 with the signing of the Joseon-Japan Treaty. Jemulpo used to be a desolate fishing village in the past, but after its opening in 1881, the Japanese settlement, Chinese settlement, and the general foreign settlement were formed. After that, Japan reclaimed the southern mudflats and expanded the theire settlement area, and advanced to the Joseon area(currently Sinheung-dong). In Japanese colonial era, modern Japanese urban landscapes were transplanted into the settlement area, centering on the Japanese modern gardens were distributed in the area around the center of the settlement area. Second, after examining the process of creating the garden for the Rikidake villa, Japanese Rikidake purchased a site for an orchard in Uri-tang, who was a major landowner in Incheon, to create the garden. At the time of Rikidake's residence, the garden was very large, measuring about 3,000 pyeong, and after liberation, it was acquired by Incheon City and used as Yulmok Children's Library. It was known as a rich village at the time of the opening of the port, and a garden was located at the highest point in Yulmok-dong, making it easy to see the Incheon Port area. Also, a spot located about 300 meters away from Rikidake's rice mill may have affected the location selection. Third, today's Rikidake villa has a Japanese-style house on a trapezoidal site, with a garden of about 990 square meters on the south side. Currently, it is possible to enter from the south and from Yulmok Children's Park in the north, but in the past, the main direction of the house was to view the Incheon Port, settlement area, and the Rikidake Rice Mill, so the house was located in front of the garden. The garden is a multi-faceted style with stone lanterns, tombstones, garden stones, and trees placed on each side, and is surrounded by arboreal plants such as attention, strobe pine, and maple trees, as well as royal azaleas. The view from the inside of the house was secured through shrub-oriented vegetation around the house.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.30 no.3
• /
• pp.1-11
• /
• 2012

This study examines the implementation process of landscaping projects in Japanese colonial era focusing on landscaping of Keijo Imperial University and draws conclusions as follows. First, landscaping of Keijo Imperial University in Japanese colonial era progressed based on Hoegyebeop and it provides important materials including the floor plan of the garden, detailed statement and other documents required for the construction. Second, it was all Japanese enterprises that took part in landscaping of Keijo Imperial University and the construction progressed under a private contract by lowest-price contract-awarding system after five enterprises' submitting estimates. Third, according to the floor plan for the landscaping, the garden had a shape of a quadrant and its boundaries were utilized as side gutters and connected to a drainage system. Fourth, though the floor plan doesn't clarify specific names of trees, detailed statement shows sorts of trees of the time. Trees of Chosun were plentifully introduced due to regional features and pines were the most expensive one when they were voluminous. This study has significance that it conducts an empirical research on main materials and techniques of landscaping projects in Japanese colonial era.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.33 no.4
• /
• pp.140-147
• /
• 2015

The garden culture of Korea and Japan have been commonly influenced by Wonrim culture of China. Nevertheless, each culture has been settled down through the development of the two separate garden cultures, The purpose of this study is to grasp the formation background and main agent of development through theoretical consideration of gardens in Japanese Imperial Garden Katsura Imperial Villa, which is the origin of the representative garden making style-Circuit Style Garden, to look into the characteristic of spatial organization elements by conducting on-site survey and interview with a garden manager, and to obtain elementary views on Katsura Imperial Villa which is an important case of Japanese garden culture. As a result; first, Katsura Imperial Villa is the first jicheol juyu(round tour of ponds and springs) circuit style garden created by Toshihito Emperor and his son Toshitada Emperor, who were well-versed in Waka through the dynasty literature based on the story of Genji throughout about two generations lasting about 30 years; space composition of this garden is divided into land, island and water space, being composed of a total of 36 space components. Second, Katsura Imperial Villa was created with the primary goal of making a round tour around the garden land by arranging tea pavilions, such as Shokintei, Shokatei and Shoiken, etc., which introduced the then game culture into the garden. Third, the personnel in Katsura Imperial Villa intended to enjoy the scenic characteristics of the area where Katsura Imperial Villa was located from the interior of the garden by making Gepparo which was a tea pavilion for enjoying the rising moon on the hill even a litter faster and longer by piling up earth and setting up stone walls north of Koshoin which was a structure located west of the garden land.