• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.29 no.1
• /
• pp.142-156
• /
• 2011

This study aims to suggest improvements in night landscape lighting of Bomun Lake, a representative waterfront landscape in Gyeongju which is the city designated as UNESCO World Heritage in December 2000. This study divided the area into three types of sections-that is, road section, walking section, and landscape section- based on the present condition of land use and users of the Bomun Lake area. In addition, this study classified the lightingtypes by section into nine lighting types-that is, road, crossroad, parking lot, pedestrian passage, trail, sculpture, tree, waterfront deck-by comparing them to the park lighting types suggested by the KS A illuminance standards, and examined the problems of the current Bomun Lake lighting base on the standards. By using this as basic data, this study established relevant plans and collected research material. This study suggested directions of each of the three sections and improvements in illuminance, color temperature, creating methods of each of the nine lighting types to the night Lighting planning of the Bomun Lake area reflecting the landscape characteristics of Gyeongju, a historical, cultural city.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.39 no.4
• /
• pp.77-84
• /
• 2021

This paper attempted to examine the value of private house garden as a historical garden among local cultural heritages remaining in Chungcheong-do Province. To this end, the following conclusions were drawn through the framework of value analysis in which the contents of Ji Cheng's Yuanye of China, Tachibana Toshitsuna's Sakuteiki in Japan, and HISTORIC GARDENS THE FLORENCE CHARTER 1981 were applied to target sites. First, local cultural heritage belong to unregistered cultural heritage, and a total of 616 local cultural heritages in Chungcheong-do Province were identified, and Cheongju City possesses the largest number of local cultural heritages. Most of the local cultural heritages are distributed in ancient capital or adjacent to it, and five of the local heritages are related to historical garden. Second, the target sites were old houses constructed during the Joseon Dynasty with a long history, and although there were few changes in spatial division, the scale of some gardens and outer yard spaces was reduced due to urban planning, etc. Third, the target site is Sangjihapui(相地合宜) and Inchacheui(因借體宜) in location and space division, so the space is divided according to the surrounding terrain and the landscape is naturally drawn to construct a garden. Fourth, the garden of the target site has a structural value of a garden that is Jeongihapui(精而合宜) and Gyoideukche(巧而得體) as it is subtle and naturally constructed with the garden by grasping the surrounding terrain. Fifth, for the continuous preservation of historical garden, it is necessary to strengthen the already enacted local cultural heritage ordinance, and to establish a documentary project for each spatial component and a plan for climate change.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.41 no.4
• /
• pp.1-7
• /
• 2023

Chwibyeong is a hedge made into a folding screen shape by setting up supports and placing plants on it. Traces of chwibyeong can be found in various paintings, such as the 『Donggwoldo painting of Changdeokgung Palace』, 『Gyujanggak painting』, 『Munhuimyo painting』, and 『Hwaseong Temporary Palace painting depicting Suwon Hwaseong Temporary Palace』. However, since the Chwibyeong has not survived to this day, the whereabouts of the Chwibyeong were estimated through ancient documents, old paintings, and photographs. In the case of a manned Chwibyeong using a support, a picture related to the composition of the Chwibyeong using a base can be Winnow willow. Methods for creating intoxicants using coniferous trees such as Chinese juniper and Rigid-branch yew have been studied. In existing old paintings, only the supports, parts of leaves, and branches were depicted, so the location of the Chwibyeong could not be confirmed through the drawings. However, in the 『Jungli-Euiguae』, written around 1797, a manned type of Chwibyeong using a support was depicted as the material of the Chwibyeong. By being able to confirm the type of tree used, it was possible to confirm the method of creating a Chwibyeong using Winnow willow introduced in the 『LimwonGyeongjeji』. However, in the 『Jungli-Euiguae』, written around 1797, a manned type of Chwibyeong using a support was depicted as the material of the Chwibyeong. By being able to confirm the type of tree used, it was possible to confirm the method of creating a Chwibyeong using Winnow willow introduced in the 『LimwonGyeongjeji』. Therefore, the purpose of this study is to suggest a method of using Chwibyeong to restore by analyzing old literature. For this purpose, first, the process of change in the material of the Chwibyeong was analyzed through the analysis of old documents showing the method of forming the Chwibyeong. Second, the material and composition method of the Chwibyeong were analyzed through the analysis of the picture of "Seongyeok-do" in 『Jungli-Euiguae』, which allows us to understand the form of the Chwibyeong

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.37 no.4
• /
• pp.81-97
• /
• 2019

The purpose of this study is to examine what people in Korea recognize the cultural symbolism and the planting patterns of 'Guǐmok', pagoda tree(Sophora japonica). The species planted in the 'Guǐjeong' was empirically investigated and analyzed to determine which species of pagoda tree or Zelkova tree(Zelkova serrata) was taken through literature surveys, field surveys, and interviews with persons. This 'Guǐjeong' was combined to track how the culture of the 'Guǐmok' planting introduced in China was ultimately accepted and transformed in Korea. In this study, we tried to analyze the meaning implicit in the mystery while checking the distribution of the mystery and the form of the mystery, the name of the pavilion and its relevance to the contrast medium. Essentially, the trees that govern the characterization of the nectar plant, regardless of the region, are considered to be a pagoda tree, which is considered an internal factor in which the pagoda tree culture was not completely transformed into a zelkova tree. It was recognized throughout the Joseon Dynasty that the species representing 'Prime ministers(三公)' was judged from all the Joseon Dynasty periods, based on the builder of Guǐjeong's Aho(雅號) and Dangho(堂號). It was confirmed that the tree was very likely to be planted in place of the painting tree. But now is selectively zelkova tree is in accordance with the preparation of planting site conditions and areas on behalf of the Change is very high probability that is planted. Cultural variables that led to the cultural transformation of the 'Guǐmok' seem to have been deeply involved in the geographical space of China and Korea, Confucian practices of the Choson society, comings and goings and letter bridge, and network strength with China through the book spread. In addition, the culture of 'Guǐmok' is presumed to have led to cultural custom of the upper class, not the whole class, in the Yeongnam region, it can be said that the independent adaptation to act to recognize 'Guǐmok' as a pagoda tree, that is a Sophora japonica, has occurred very strongly. The difference between the cultural areas of Yeongnam and non-Yeongnam is also considered to be an internal factor that has played a major role in the cultural transformation of planting of 'Guǐmok'.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.35 no.1
• /
• pp.68-82
• /
• 2017

Strengthening surveillance, one of the most important factors in the crime prevention environment of cultural heritages, has difficulty in evaluating and diagnosing the site. For this reasons, surveillance enhancement has been assessed by modelling the shape of cultural heritage, topography, and trees digitally. The purpose of this study is to develop the evaluation method of crime prevention environment for cultural heritage by using the 3D visual exposure index (3DVE) which can quantitatively evaluate the surveillance enhancement in three dimensions. For the study, the evaluation factors were divided into natural, organizational, mechanical, and integrated surveillance. To conduct the analysis, the buildings, terrain, walls, and trees of the study site were modeled in three dimensions and the analysis program was developed by using the Unity 3D. Considering the working area of the person, it is possible to analyze the surveillance point by dividing it into the head and the waist position. In order to verify the feasibility of the 3DVE as the analysis program, we assessed the crime prevention environment by digitally modeling the Donam Seowon(Historic Site No. 383) located in Nonsan. As a result of the study, it was possible to figure out the problems of patrol circulation, the blind spot, and the weak point in natural, mechanical, and organizational surveillance of Donam Seowon. The results of the 3DVE were displayed in 3D drawings, so that the position and object could be identified clearly. Surveillance during the daytime is higher in the order of natural, mechanical, and organizational surveillance, while surveillance during the night is higher in the order of organizational, mechanical, and natural surveillance. The more the position of the work area becomes low, the more it is easy to be shielded, so it is necessary to evaluate the waist position. It is possible to find out and display the blind spot by calculating the surveillance range according to the specification, installation location and height of CCTV. Organizational surveillance, which has been found to be complementary to mechanical surveillance, needs to be analyzed at the vulnerable time when crime might happen. Furthermore, it is note that the analysis of integrated surveillance can be effective in examining security light, CCTV, patrol circulation, and other factors. This study was able to diagnose the crime prevention environment by simulating the actual situation. Based on this study, consecutive researches should be conducted to evaluate and compare alternatives to design the crime prevention environment.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.36 no.3
• /
• pp.48-57
• /
• 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
• /
• v.30 no.1
• /
• pp.39-45
• /
• 2012

The purpose of this research is to look into the tea-drinking pictures of the Joseon Dynasty in order to find the unique landscape traits of tea-drinking spaces of the era. A number of tea-drinking pictures were drawn during the Joseon Dynasty period and in most cases, the names of the painters are stated as well. These factors make tea-drinking pictures a seminal source that illustrates the landscape traits of the last Dynasty of Korea. For those pictures contain the main components of landscape such as the tastes of 'Yangban'(noblemen), natural characters, and space traits. Since tea was first introduced in Korea during the Three Kingdom Period, tea-drinking culture has a long history in the country. There have been various studies about tea and many study results have been presented. Few research, however, have looked into tea culture from the point of landscape. Under the premise that tea-drinking pictures of Joseon Dynasty can be a cultural code that explains Korean tea-drinking culture, this thesis looked into those pictures from various angles and analyzed them in order to elucidate the attributes of scenery components of tea-drinking spaces that Koreans have forged and developed, and following results could be found. The Landscape components illustrated in tea-drinking pictures of the Joseon Dynasty can be divided into the element of architecture, the element of water, stone and plants. First, for the element of architecture, it was found that tea-drinking took place in anywhere in Korea without specific tea-drinking buildings or gardens unlike the case of Japan. This has to do with traits of Koreans who were not bound by formality and truly loved nature. Second, for the element of water, water contributed to making harmonious landscape. Third, for the element of stone, it was clear that stone had a practical role in providing comfortable place for lying and enjoying tea-drinking and scenery. Fourth, plants made elegant figure in the landscape and were planted in accordance with their inner meaning. Tea-drinking pictures of the Joseon Dynasty elucidates that when it comes to tea-drinking, Koreans were not obsessed with a formality of tea-drinking, or a set of tea ceremony, which is profoundly different with Japanese, and Koreans did not put a limit on a place for tea-drinking because for Koreans any place they sat could be a great place for tea-drinking.

• 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.2
• /
• pp.119-129
• /
• 2012

Yongdoseo and Guimunwon are described in "Bokgeo(卜居, fixabode)" of "Sanlimkyengje(山林經濟)" written by Manseon Hong. This record is a unique garden conceptual idea applying the principles of Hetu(河圖) and Luoshu(洛書), fanciful gardens which have not been actually constructed. Here, two garden types were concretely described respectively, however the underlying meaning therein cannot be apprehended without exact understanding about Sangsu studies. Therefore, the purpose of this study is to illuminate the meaning contained in Garden illustration and the historical meaning of landscape therein through considering this text. To achieve the purpose of this study, the writer and the compiler who are the background of this writing and the outline of Sangsu studies were investigated. Also, the principles of Saengsu(生數), Seongsu(成數), Yin Yang(陰陽), Four Bodies(四象), Palgwedo(八卦圖), etc. which are in Hetu and Luoshu were considered. The result of this study went through this research process is summarized as follows. First, Hetu Luoshu are conceptual definitions which wholly abstracted the basic propositions of Sangsu philosophy such as the universe change principle, etc., while Yongdoseo and Guimunwon can be said to be operational definitions which apply those as garden composition principle, enabling to experience the meaning contained therein concretely and explain it in a replicable way. This attempt is a unique example, unprecedented in Chinaas well. Second, as a livingspace, garden was selected as a means to concretize operational definitions about the meaning of Hetu Luoshu, and as the property to reproduce the bearings concept, the location and the number, etc. of Hetu Luoshu, Taegukjeong(太極亭), Shipjagak(十字閣), Dondae(墩臺), well, pond as well as various kinds of trees were used. Third, the main motif of Yongdoseo and Guimunwon is the relation between Apriority(先天) and Posterior(後天), and the relation between Constitution(體) and Use(用) of Hetu and Luoshu respectively. That is, Yongdoseo planted evergreen trees such as Shipjangcheong(十長靑) in order to symbolize the universe creation principle which Hetu stands for, i.e. silent, harmonious, orderly and win-win image. In Guimunwon, flowering trees(花木) and fruit trees(果木) were planted freely to express the change of Posterior which Luoshu stands for, thatis, dynamic, disharmonious, disorderly, incompatible(相剋) and changing image. The effects intended to be attained through such planting were, 'freshness and cheerfulness(淸爽)' of Yongdoseo and 'splendidness' of Guimunwon respectively. Sangsu studies based on Hetu and Luoshu is a unique thinking system to the Orient which came from the accumulated wisdom of several scholars from various schools through a long period since ancient times. Therefore, the concept and the theory thereof are profound and huge, and its viewpoints of interpretation are diverse. It is a limit of this study that more in-depth and various consideration was not performed. As a further research project, more empirical study of Orientalism such as Sangsu studies, etc. inherent in Traditional Garden is necessary.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.39 no.4
• /
• pp.24-37
• /
• 2021

This study was conducted to newly examine the original landscape of Buyongjeong(芙蓉亭) and Juhamnu(宙合樓) areas in Changdeokgung Palace(昌德宮), focusing on the modern period including the Korean Empire, and to derive useful research results for restoration and maintenance in the future. The study results can be summarized as follows. First, the artificial island in Buyongji(芙蓉池) was originally made up of a straight layer using well-trimmed processed stone. However, during the maintenance work in the 1960s and 1970s, the artificial island in Buyongji was transformed into a mixture of natural and processed stones. The handrail installed on the upper part of the artificial island in Buyongji is a unique facility that is hard to find similar cases. The handrail existed even during the Korean Empire, but was completely destroyed during the Japanese colonial period. Second, Chwibyeong(翠屛), which is currently located on the left and right of Eosumun(魚水門), is the result of a reproduction based on Northern bamboo in 2008. Although there is a view that sees the plant material of Eosumun Chwibyeong as Rigid-branch yew, the specific species is still vague. Looking at the related data and circumstances from various angles, at least in the modern era, it is highly probable that the Eosumun Chwibyeong was made of Chinese juniper like Donggwanwangmyo Shrine(東關王廟) and Guncheongung(乾淸宮) in Gyeongbokgung Palace(景福宮). Third, the backyard of Juhamnu was a space with no dense trees on top of a stone staircase-shaped structure. The stone stairway in the backyard of Juhamnu was maintained in a relatively open form, and it also functioned as a space to pass through the surrounding buildings. However, as large-scale planting work was carried out in the late 1980s, the backyard of Juhamnu was maintained in the same shape as a Terraced Flower Bed, and it was transformed into a closed space where many flowering plants were planted. Fourth, Yeonghwadang Namhaenggak(暎花堂 南行閣), which had a library function like Gyujanggak(奎章閣) and Gaeyuwa(皆有窩), was destroyed in the late 1900s and was difficult to understand in its original form. Based on modern photographs and sketch materials, this study confirmed the arrangement axis of Yeonghwadang Namhaenggak, and confirmed the shape and design features of the building. In addition, an estimated restoration map referring to 「Donggwoldo(東闕圖)」 and 「Donggwoldohyung(東闕圓形)」 was presented for the construction of basic data.