• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.41 no.4
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• pp.49-56
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• 2023

This study analyzes the entirety of Okhojeongdo's content found in the Punggojip, written by Kim Jo-Sun, who created Okhojeong. Through an examination of the literature confirming Okhojeong within the Punggojip, the study compares the existing research with the Okhojeongdo's content. Additionally, it clarifies the relationships between the disciple, the garden, and related historical facts. The results are as follows. First, Kim Jo-Sun, who created Okhojeong, had a strong literary inclination, which made it relatively easy to estimate the original form of the garden, as he expressed detailed content related to the design and management of the garden. Second, the historical dating of the creation of Okhojeong was previously estimated to be around 1815 based on the inscriptions on the Eulhaebyeok. However, it is more appropriate to revise this to 1804, as revealed by Lee Sung-min, who discovered records in Dongseonggyoyeojip, indicating that Kim Jo-Sun purchased the Jang's house. Third, Kim Jo-Sun's literary hobby, as depicted in Punggojip, closely followed Chinese classics. However, the part about creating the garden is supported by factual and garden archaeological records, giving it inherent value. Regarding the expansion of the garden site, it is estimated that the southern boundary of Okhojeong was extended by about half a unit(kan; 間) through a transfer from Kim saeng Saho. Various additions, stone statues, peculiar rocks, ornamental trees, and accompanying elements are found throughout the garden. Particularly noteworthy are the techniques and aesthetics of creating a stone pagoda, and there are mentions of transplanting young pine trees with professional insights. The love for harmony and elegance in the garden is woven throughout the poetry. Additionally, the process of selecting the location for Okhojeong, the understanding of the terrain and topography, the assessment of existing vegetation, the process of cutting down trees and selecting the soil, the construction of houses with tiles and thatched roofs all contribute to demonstrating the comprehensive stages of creating Okhojeong, providing insight into the location and construction process of the Sanbanru pavilion, showcasing the archaeological value of the garden. A follow-up study is needed to excavate more information about the original form of Okhojeong garden through the interpretation of the collections of the literary works of the influential figures introduced in Punggojip in the future.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.38 no.4
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• pp.39-48
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• 2020

This study examined the type, the structural shapes, and the representation of Sandae, which was the stage for traditional performing arts and constructed for the purpose of imperial processions, ritual ceremonies, banquets, etc. from the Goryeo Dynasty to the Late Joseon Dynasty, and the implications of Seokgasan, which was built in the same era. First, through the history and meaning of Sandae, it was confirmed that Sandae has a homogeneity with Seokgasan, which attempted to imitate the shape of "Mountain" in the outer space. The construction of Sandae was deeply related to the tradition of famous mountains. This is consistent with the fact that 'Famous mountains and lakes" in China was symbolically replicated on the Seokgasan in the front yard of the "Cheongyeongak" in the Goryeo Dynasty. Second, Sandae and Seokgasan differed in their structural shapes, materials, and production methods, but they were used as a stage background for national events by constructing in the shape of the mountain, and appeared in various types. It can be seen that the interest in gardens and art of those days has resulted in various formative expressions of nature through the shape and symbolic meaning of the Sandae that mimics the mountain. Third, it is presumed that the square pond with lotus flowers, which is believed to have been located in the center of the garden of Shin Jaehyo's old house, and the Sugak and Seokgasan adjacent to it were not only elements of the garden, but also functioned as a background for the training and performance stage of Shin Jaehyo's students.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.4
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• pp.105-112
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• 2018

This study aims to apply 3D scanning technology to the field of landscape planning design. Through this, 3D scans were conducted on Soswaewon Garden and Seongrakwon Gardens to find directions for traditional landscape planning and designs. The results as follows. First, the actual measurement of the traditional garden through a 3D scan confirmed that a precise three-dimensional modeling of ${\pm}3-5mm$ error was constructed through the merging of coordinate values based on point data acquired at each observation point and postprocessing. Second, as a result of the 3D survey, the Soswaewon Garden obtained survey data on Jewoldang House, Gwangpunggak Pavilion, the surrounding wall, stone axis, and Aeyangdan wall, while the Seongnakwon Garden obtained survey data on the topography, rocks and waterways around the Yeongbyeokji pond area. The above data have the advantage of being able to monitor the changing appearance of the garden. Third, spatial information developed through 3D scans could be developed with a three-dimensional drawing preparation and inspection tool that included precise real-world data, and this process ensured the economic feasibility of time and manpower in the actual survey and investigation of landscaping space. In addition, modelling with a three-dimensional 1:1 scale is expected to be highly efficient in that reliable spatial data can be maintained and reprocessed to a specific size depending on the size of the design. In addition, from a long-term perspective, the deployment of 3D scan data is easy to predict and simulate changes in traditional landscaping space over time.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.4
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• pp.52-64
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• 2015

This study was carried out investigation of characteristics palace gardens representing historical background, political and cultural identity in Korea, China, and Japan. It had been done a comparative analysis in formation, location and site layout, site composition, landscape elements and planning, landscape technique and vista for palace gardens in East asia's three countries. In order to process this study, Changdeokgung Palace in Korea, Summer Palace in China and Sento Imperial Palace in Japan were selected based on similar status. therefore it provide theoretical foundation to investigate the identity of palace gardens in three countries. Furthermore the study determined homogeneity(similarity) and heterogeneity(differentiation) of the characteristics between palace gardens in three countries through the in-depth comparative analysis in order to investigate identity of palace gardens in three countries and to present the value of Korean palace garden. Homogeneity and heterogeneity between palace gardens in three countries deducted from the study were summarized as follows; First, it shows indigenous style of Korean garden throughout adapting natural terrain without natural destruction. Second, various symbolic elements which ie reflected East asian ideologies present in the gardens. Chinese thoughts and technique were influenced in the development of palace garden in Korea and implemented in similar ways of China. Homogeneity of utilizing waterscape could be found in three countries. Lastly, Palace garden in Changdeokgung had played a role as cultural place with taste for the arts rather than representing authority of the throne. It appears to be similar in China and Japan. The reason how Korea, China and Japan established their own independent style is that each palace garden had been developed to embrace indigenous culture with introduced elements even though they were closely bound up with culture.

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

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.37 no.3
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• pp.108-118
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• 2019

Appreciating gardens in garden show has its meaning in appreciating concepts and ideas of artists, hidden inside of garden, as formative arts, as well as the beauty of the nature. This study is aimed to understand the intension of artists in visual expression through formative media in the gardens by assessing structure of visual narrative in the space with 20 artworks among the ones presented in 2018 Taehwagang Garden Show. The formative structure is delivered as contents and forms through formative media and formative language. Thus, for analysis on the artworks, the researcher assessed expressive characteristics of the media, through visual and space language, that forms the formative structure in the contest of narrative structure expressed in the gardens and findings of the analysis are as follows. First, for intertextuality obtained through media image, most of the artworks delivered message through 'figure image.' This means, the concept is delivered as 'affinity of actual objects' through the media and associated 'meaning and meaning action' are expected. Second, the characteristics of signs to show symbolism in the gardens were categorized into 'icon'. 'index' and 'symbol'. The results showed that most of the artworks expressed common characteristics between image and meaning, using 'icon' and 'symbol'. Third, as space formation components, based on formative principles, the components of 'dominant' and 'subordinate' roles were defined as the key components for meaning delivery. Also, it was understood that 'space configuration with overlapped image' and 'space configuration with transparency' were adopted to strengthen conceptional layers. Forth, for space occupation types, there were mostly central hall type, corridor type and passage space type and for open space type, the entire space area was conceptualized, instead of certain object. The circulation line was defined in the frequency order of circular type, pass type and return type. The study on the expressive characteristics of visual narrative in garden design is meaningful as it could build base data for the method of spatial design for visual development of concepts in the future.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.2
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• pp.21-35
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• 2015

This study conducted a research on the position, construction of space and plants of Ten Evergreen's Garden(十靑園) and Oddly Shaped Stone Garden(怪石園) that are central gardens of Eunguhdang(恩居堂) in the poem 'Statement of Responsibility'(Heo Mok, 1595~1682) and Sochi(小痴) Heo Ryeon(許鍊)'s 'Taeyeongsipcheongwondo(漣川台嶺十靑園圖)' in order to bring light on the construction of space and characteristics of them as a garden of the deep pond, Eunguhdang that is a historic site of Misu Heo Mok(許穆, 1595~1682). The characteristics of Eunguhdang, and the meaning of it from the research are expected to be utilized as a basic data for future restoration of it. The results are as follow: In Eunghudang, there are the main building, a detached house, a separated building, and servants' quarters, and the garden consists of Ten Evergreen's Garden between the main building and a Byeolmyo(別廟), a backyard which leads to a green mountaintop, and Oddly Shaped Stone Garden including a pavilion in the front of the detached house. These gardens are thought to have utilized various oddly stones. From the analysis of existing documents such as 'Gwuimonwon(龜文園)' and several interviews, it is concluded that Gwuimunwon might have had Youngdoseo(龍圖墅) that imitated a stream, and Oddly Shaped Stone Garden might have had a garden which imitates Guimonwon standing for graffiti. The evergreen plants in Gwuimonwon correspond to the plants of Sipjangcheong(十長靑) in Youngdoseo, and through these facts, it is thought to have sought "The clean and cool". Furthermore, the diverse colors of flowering trees and flowers in Oddly Shaped Stone Garden and the surrounding of it is symbolizing dragon which is found in Gwuimonwon and that is contrasting with the evergreen plants in Gwuimonwon. The oddly shaped stones in the garden of Eunguhdang have a strange atmosphere which is felt across the whole buildings in Misu, and s a same aesthetic object that are thought to have created beauty of old greenery and antique appearance by utilizing oddly shaped stones. Misu is based on ever green plants seeking change with flowers along with stones that means spirit, body and bones, which is strengthening his intention.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.3
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• pp.60-71
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• 2010

The purpose of this paper is to provide a unified examination of apparently quite different gardens in terms of Carl Jung's psychological concepts such as Archetypes, Individualization, and a natural tendency towards balance or wholeness. In Jung's psychological framework, Archetypes are innate, universal prototypes for ideas and function as the first original models upon which all other similar persons, objects or concepts are derived, copied or patterned. Jung proposes that Individualization be achieved through a natural tendency towards balance, especially the balance between the conscious and the unconscious. This paper deals with three gardens, each of which represents a distinct cultural region: Bu-Yong Ji(芙蓉池) at the Changdeok Palace(Oriental), the Patio of the Lions at the Alhambra(Islamic), and the Fountain of Apollo at the Versailles Palace(Western). It is argued that all of three have in common a natural tendency towards balance and symbolize mandala, the archetype of wholeness. Bu-Yong Ji is in the form of quadrangle which embodies Yin and Yang. In the Patio of the Lions, the basin at the center and the four channels, which symbolize the waterway of the Garden of Eden and the four rivers in Paradise respectively, are constructed in the form of a quadripartite composition. The overlapped circle and rectangular shaped pond of the Fountain of Apollo also represents mandala. Symbols representing the same archetype can vary from culture to culture. This explains the differences among the three gardens with respect to specific aspects of external forms. In other words, an archetypal image can give rise to various forms in different cultures, and thus quite different mediums of design or design details may be developed. In conclusion, the three gardens give us a good example as to how an archetypal image can be expressed in different ways from culture to culture and how seemingly different design details can be analyzed in a unified way.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.10 no.4
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• pp.846-851
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• 2009

This study is to look into the spatial cognition of modern space in the nineteenth century and it is on the purpose of understanding the character of the modem architectural space and of showing the modern architectural space connected with modem society and its everyday life. Especially, fur understanding the spatial cognition of modern space, the Landscape Gardens will be analyzed. The reason for analyzing is that the Landscape Gardens are important theme in the nineteenth century and have great influence on whole European architecture and city. The Landscape Garden produce several modern spaces, that are (1) space of dynamic vision, (2) space of panorama, (3) space of spectacle. These spaces make modem cognition of space and pervade the space of everyday life in the nineteenth century. As a result, the modern spaces and their cognitions are in deep relation to modern society and its everyday life, and unique characters of that spaces are origin of the modem architecture and its space.

• Korean Journal of Heritage: History & Science
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• v.56 no.2
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• pp.282-294
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• 2023

Efforts are being made internationally to pay attention to the landscape value of modern and contemporary heritage and to pass it on. However, in Korea, the registration of modern and contemporary landscape heritage as registered cultural properties is insignificant. There has also been little discussion on ways to improve the system in this regard. This study sought ways to improve the registration criteria and classification system of the registered cultural property system so that modern and contemporary landscaping heritage could be protected. Currently, the registration criteria for registered cultural properties are not stipulated for each type of heritage, but are stipulated as a single comprehensive standard. Registration criteria should be separately prepared so that the landscape value of the heritage can be reviewed. First, the registration criteria have an important value in understanding the development of landscape culture. Second, well-preserved landscaping reflects or characterizes the times. Lastly, it should be defined as related to the works of major artists or important figures or historical events. The classification system must match the studied building cultural property classification system, and the detailed types of modern and contemporary landscape heritage should be specified. The major classification follows the building cultural property classification system, but parks and green spaces, squares, and gardens, which can be called a single landscape heritage, should be added to the middle classification. Landscaping heritage, such as gardens combined with building heritage, shall be specified in the subcategory based on building use.