• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.3
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• pp.10-20
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• 2014

The purpose of this study is to define criteria for landscape restoration of palace gardens. The case study on Gyeongbokgung and Changdeokgung was used not only to evaluate effectiveness of the criteria, but also to propose solutions to issues of current restoration process of both palace gardens. Following three pairs of different concepts were chosen as criteria to determine on the original form: Diachrony vs. Synchrony, Originality vs. Contemporary Characteristics, and Invariance vs. Deformability. Gyeongbokgung has been restored based on its contemporary characteristics of Year 1888 and the main focus is on its architectural features rather than both architecture and landscape. However, in-depth complementary work on landscape restoration is necessary to restore its originality in Year 1395 such as analyzing photos of Gyeongbokgung taken in modern era. In case of Changdeokgung, we analyzed separately by region or landmark such as Jondeok-Pavilion(尊德亭), Yeonkyung-Hall(演慶堂), and Okryu-Stream(玉流川). Original form of Jondeok-Pavilion Area was changed in 1884. Since diachronic invariance that lasted for 240 years is more important criterion than its contemporary characteristics, it should be restored as how it was painted in Donggwoldo(東闕圖). In Yeonkyung-Hall Area, both original characteristics at the time of Hyomyung Crown Prince and contemporary characteristics of Emperor Kojong Era appear. Therefore, different solution is required for such area to be restored appropriately. Starting from era of King Injo(1636), diachrony and invariance of Okryu-Stream Area were continued throughout the era of King Sukjong and King Jeongjo(1800). It is more than 250 years before Okryu-Stream Area was altered under the rule of Emperor Kojong in 1884. In fact, alterations made to Okryu-Stream Area after 1884 doesn't hold much significance. Therefore, water landscape of Okryu-Stream Area, which was altered in the era of Emperor Kojong, needs to be restored based on Donggwoldo.

• 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.36 no.1
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• pp.97-108
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• 2018

The purpose of this study is to propose the construction of a visibility analysis model, which is the basis of the analysis for landscape management on the heritage sites such as historic villages and scenic sites. Results of the visibility analysis using DEM and the visibility analysis of DSM based on 3D mapping data are compared as follows: Precision level of the extracted data was confirmed to be less than 6.5cm, based on RTK survey results produced by constructing orthoimage data and DSM from the digital data of 2cm-class GSD(Ground Sample Distance) obtained by using a small UAV(Unmanned Aerial Vehicle). As a result of comparing the visibility analysis data of Digital Surface Model (DSM) using a small UAV with Digital Elevation Model(DEM) applying the height of the building to the Digital Topographic Map, it was confirmed that more realistic visibility analysis can be accomplished by applying DSM, as the structures such as fences, trees, and houses are reflected in the topographic data. The visibility analysis model using the 3D mapping technique can efficiently obtain the constantly changing topographic information when needed, by immediately constructing the data by utilizing a small UAV. It seems to be possible to propose a reasonable analysis result for preservation management such as landscape evaluation of cultural property.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.2
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• pp.19-27
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• 2011

By studying 'Sauidangzi' written by Honggyungmo(1774~1851), this paper shows on the location, the space organization, and the landscape culture of 'Sauidang' which was upper class's house in late period of the Joseon. Sauidang was the residence of about 530 kan(about $1,750m^2$) which was given to Jeongmyunggongju(daughter of Sunzo) by Injo when she married with Hongjuwon, located at the good place where Mt. Mokmyuk, Mt. Dobong, Mt. Inwang, and Janwon peak are harmonized all together. The residence was on the foothill of Mt. Mokmyuk, facing to the northeast. The main house was facing to the east with the inner and back yards, and the separate house(Sauidang) was facing to the west with the garden, and a vegetable field was set in the outer yard where is connected with a main road where willow trees were lined up, 'Sauidang' was called as "the garden of princess", and a stair-shaped flower garden was made to the south, and one could look down the Hanyang castle as a whole. In the garden, there were trees and house plants enriching one's mind to wish an eternal life with oddly shaped stones or flowers, and symbolizing a fairly land. There were 38 types of trees that were planted either on the ground or in pots as various bundles like 1 tree, 2 trees, 3 trees, 4 trees, 5 trees, 8 trees, and 9 trees. Taehosuk, oddly shaped stones, stone panels, stone pillars, jade panels, sundial, walls and fences, stone stairs, steppingstones, and buildings were set for the landscape. Also, the residence had rare luxuries of landscaping culture like Wangheeji's Nanjungsoogyeseo, Sosik's Cheeongjeongi, Jomangboo's Jeokbyukboo, and Anpyungdaegoon's Behaedangcheop.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.3
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• pp.46-57
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• 2014

This study contemplated the gardening culture from the pictures, which the scholars of late Joseon Dynasty, the aspects of garden landscapes and garden use behaviors are drawn as follows. 1. The yard by the detached house for men and guest in front of the premises(Sarang Madang) and backyard were the major places for Ahoi(social gatherings of the scholars). The mansions had interests in the management of the outer garden beyond the house wall with building structures like the pavilions on the high walls and side gates. This management and the selection of location anticipating in advance of the management are noteworthy. 2. Only house gardens had plant pots with flowers and the small flower bed(Hwa-O) at Sarang Madang occasionally had plant pots without flowers and oddly shaped stone pots and equipped pine branch eaves and traditional awnings made of plant material like a trellis. 3. The oddly shaped stones were significant landscape elements in the gardens of houses and villas. Some of them were depicted as the Taihu stone and this draws attention to the question of whether the Taihu stone was actually used in the garden of late Joseon Dynasty. 4. The gardens in villas accommodated the borrowed scenery with various materials like wooden fences, bamboo or reed fences, mud walls. They also had the artificial gardens with some odd shaped stones, old pines, bamboos, Japanese apricots, willows, paulownia trees, lotuses and plantains in the secured Madangs. 5. Gyeong Hwa Sa Jog(The scholars of the ruling class adapted to the 18th century's new historical aspect) of late Joseon Dynasty built the villas at the beautiful scenery closed to the their houses. 6. The Gardens around pavilions were located high closed to the mountain streams with nature like beautiful forests, oddly formed rocks, precipitous cliffs and viewing stones. The back side of the pavilion was enclosed by bamboo forests and the front had pines, ginkgoes and willows as shade trees. 7. The beautiful scenery which was preferred as the place for Ahoi was basically with fantastic peaks and precipitous cliffs which forms the distant view harmonized with a waterfall. Broad and flat rocks at the summit of a mountain which commands a bird's-eye view or on a mountain streamside with pine forest, willows and plum trees were chosen as the optimal places for Ahoi. 8. Pine trees were presumed to be more preferable than other species in the garden, especially an single planted old pine tree accented symbolism. 9. Portable tea braziers for boiling tea were adopted in all four types of the gardens. 10. The gardens mixed with auspicious landscape elements were the places of the arts for an unworldliness Ahoi through GeumGiSeoHwa(enjoying strings, go, writing and painting) and boiling tea.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.3
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• pp.38-49
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• 2015

This study aims to contemplated spatial recognition in Soswaewon Garden through garden visitors poetry. It was content analysis in poetry and extract frequency from words based on relationship of author. The results were as follows. First, relationship of authors who wrote Soswaewon Garden poetry was formed in companionship. In the Yang, San-Bo(梁山甫), poetry was written by Song, Soon(宋純), Kim, Un-Geo(金彦据) and Kim, In-Hu(金麟厚) as the central figure. Especially Kim, In-Hu was playing an important role in Soswaewon Garden poetry. He was wrote many of poetry and keep friends with Yang, Ja-Jeong(梁子渟) too. In the Yang, Ja-Jung, relationship of previous generation was sustained. In addition, Ko, Gyeong-Myeong(高敬命) and Kim, Seong-Won and Jeong, Chul(鄭澈) is more closely related than others. Because blood relationship by marriage. In the Yang, Jin-Tae(梁晋泰), He formed a relationship with a celebrity and attend to international activity. Since then Yang, Jin-Tae periord, Yang, Gyeong-Ji(梁敬之) and Yang, Chae-Ji(梁采之) formed relationship of previous generation was sustained. And surrounding people was written poetry as hold a banquet. Second, plant and ornament is a popular object for writing poetry. Bamboo grove and Fine tree with a high frequency of plant element in poetry. Bamboo grove is a typical species of trees in Soswaewon Garden. It was enclosed the Soswaewon Garden. Fine tree was often used target of poetry as a single tree. Meanwhile, ornament of the wall has been used most frequently. Descendants wrote a poem to see it because Kim, In-Hu's poetry was left. This phenomenon is involves respect for the ancient sages with high frequency. In addition, behavior of viewing the landscape was mainly appeared. Third, spatial recognition of Soswaewon Garden can be divided into landscape cognition, behavior cognition and emotional cognition. In a aspect of landscape cognition, early Soswaewon Garden was recognized as a pavilion. That was used garden name to 'Soswaewon Garden' since Yang, Ja-Jung's period. That is to say, Soswaewon Garden expanded from pavilion area surrounded by trees into the whole appearance is equipped garden area. Behavior cognition was consisting drink and enjoys a landscape. In the Yang, San-Bo, authors enjoyed drinking and viewing a landscape besides walking, writing poetry, viewing the moon. But after Yang, San-Bo's period other than drinking and enjoy a landscape has appeared a low frequency. These results were changed from internal place to blood relationship into external place to companionship. In the Yang, San-Bo's emotional cognition was sorrow and yearning about leave to Soswaewon Garden with an idly atmosphere. Pleasant emotion was sustained all generation. And emotion of respect for the ancient sages was appeared since Yang, Cheon-un.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.3
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• pp.85-97
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• 2010

This research studied the location and the spatial composition of Pihyang-jeong zone. Pihyang-jeong is regarded as one of the five great pavilions in Chollabuk-do. Located in Taein-myeon of Jeongeup-si, Pihyang-jeong is also called as 'the number one pavilion in Honam area'. 1. There is no record regarding the first construction of Pihyang-jeong. There is only transmitting by word of mouth that the scholar Choi Chi-won had an excursion to here and composed some poetry during the age of King Heon-gang of Shilla dynasty. However, there are records that Lee Ji-gweng had expanded the humble structure in 1618, Park Sung-go repaired it in 1664 and Yoo Geun repaired it again in 1715. 2. The location of Pihyang-jeong is 'high in north and low in south' and typical 'mountain in rear and water in front'. It has Seong-hwang Mountain(189m) in the north, Hang-ga Mountain(106m) in the south, Tae Mountain(33m) in the south and an open field in the northwest. 3. The spatial composition around Pihyang-jeong is as following. Pihyang-jeong faces 'Hayeonji'(the lower side lotus pond) in the south-south-west direction. 4. The buildings around Pihyang-jeong are; Pihyang-jeong, which was the pavilion of the government official not directly in charge of government office, Hambyeok-lu in the Hayeonji and the facility for the caretaker. Pihyang-jeong is a rectangular building with double eaves and hipped-and-gabled roof. It has five rooms in the front and four rooms in the side. Hambyeok-lu had been first built in 1918 as two-storey wooden pavilion with dancheong, traditional multicolored paintwork on wooden buildings. Then it was modified into rectangular single-storey pavilion with hipped-and-gabled roof and five rooms in 1971. In 2010, it was rebuilt as a hexagonal pavilion; therefore, the present shape is completely different one from the original shape. 5. The scenic features around Pihyang-jeong are as following. There are 21 stone monuments in Pihyang-jeong zone. The fence surrounding Pihyang-jeong is a traditional Korean style crude stone fence. There are three gates in three-gates-style, each gate made with two posts and one 'matbae'(gabled) roof. Also, a stepping stone for mounting/dismounting was found in the east of Pihyang-jeong outer perimeter. 6. The water scenic feature around Pihyang-jeong is a representative case of drawing in the water from the natural pond nearby government office and building a pavilion around the water. 7. The planting around Pihyang-jeong is as following. There are Zelkova trees in the boundary perimeter. In the southern small park, there are Zelkova trees, Crape-myrtie trees, Bushy young pine trees, Pine trees, Satuki, Purple azalea and Grass field. Around Hambyeok-lu in the Ha-yeonji, Elm trees, Zelkova trees and Pine trees are growing in good condition.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.2
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• pp.134-147
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• 2014

The purpose of this study is, focusing on the ancient paintings and literatures, by examining Flowering Plants and drawing their cultivating methods, to provide a ground of utilizing them on the modern landscaping. In the scope and method of this study, 766 pieces of ancient paintings(6 garden paintings and 760 folk paintings) which were available and had value as literatures, and 8 of ancient literatures were intensively examined. Main results extracted from them are as follows. First, the most frequently used Flowering Plants in Joseon Dynasty were Prunus mume, pbyllostachys, Nelumbo nucifera, Chrysanthemum morifolium, Musa basjoo, Rosa spp., Rhododendron mucronulatum, Paeonia lactiflora, which appeared 11 times to 16 times in total. Next frequently(4 times to 8 times) used Flowering Plants were Gardenia jasminoides, Punica granatum(8 times), Dianthus chinensis, Vitis vinifera(7 times), Orchidaceae, Syringa velutina, Impatiens balsamina, Hemerocallis fulva, Celosia cristata, Hibiscus Syriacus, Rhododendron indicum(6 times), Rhododendron, Rhododendron obutusum, Acorus calamus, Althaea rosea, Kerria japonica, Citrus junos(5 times), Hibiscus mutabilis, Lychnis cognata, Calendula officnalis, Begonia rex., Helianthus annuus, Papaver spp., Narcissus tazetta, Daphne odora, Hosta plantaginea(4 times). Second, usage of the Flowering Plants in Joseon Dynasty can be divided into character building and horticulture for pleasure through positive, scientific approach attempt. It suggests that there might have been classes in the use of them and we can estimate which plants were particularly preferred. Third, in the symbolicity of the usage of Flowering Plants, it can be divided into three parts: The case of representing integrity, gentleman, honesty and nobility and the thought of loyalty and filial piety under the influence of Confucianism. The case of representing Taoism's thought of hermit and perennial youth and long life. The case of representing wish on wealth and prosperity. So if we make a good use of it, we may draw a meaning of cultivation of Flowering Plants from it. This is your target audience or the good luck to all he plants is aimed at, you can see the occurred. Fourth, the Joseon Dynasty was the use of flowering plants are the line of rain wanted to be more consistent with the spirit world. This is shown as a symbol of their ancestors. Joseon Dynasty was used, resulting in a kind of flowering plant and is not a subjective judgement criteria A psychological approach to the side when interpreting the Joseon Dynasty flowering plants to take advantage of the landscape of the area will widen in scope.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.35 no.3
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• pp.22-31
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• 2017

The purpose of this study is to illuminate historical sensitivity and design in the days of the Joseon era and examines the phenomenon of acculturation as revealed in the planting of Sophora japonica and Zelkova serrata in the garden grove by looking into the purpose underlying the construction, formative intention and the process of change in Pohang's Chirinjeong wonlim. Chirinjeong, also called Sanggaejeong(雙槐亭) after the fact that two Zelkova serrata trees were planted there, is a hermit pavilion in Sa-il village, Chogok-ri, built in the 9th year of King Taejong(1409) by Jang, Pyo(張彪, 1349~?) of an officer of bureaucratic origin toward the end of the Goryeo Dynasty, the Chirinjeong garden grove is an element essential to Chogok, the 3rd Gok of Sanggaegoogok(雙溪九曲). The wonlim of Chirinjeong is divided into the pavilion section composed of the entrance area, Chirinjeong, composed of Zelkova serrata and Sophora japonica, and the pond section composed of a quadrangular pond and island(方池方島), and Lagerstroemia indica. In view of the intent of the name Chirinjeong or of the fact that the pavilion was named based on that the royal seal string was hung on the Sanggwaesoo(雙槐樹) or two Zelkova serrata trees, it is reasonable to view it as Zelkova serrata trees having been planted early in the days of the Joseon Dynasty and those additionally planted later on that symbolizes the position of the three nobles and the Sophora japonica. In addition, in spite of the fact that the type of trees supplementarily planted in the 21st year of King Yeongjo(1745) is known as Sophora japonica, it is impossible to rule out the possibility of the tree planted outside of Chirinjeong being Zelkova serrata. In short, the three Zelkova serrata trees planted along with Sophora japonica must certainly be evidence that Zelkova serrata planted along with Sophora japonica in Chirinjeong wonlim indicates that the off spring of the Indong Jang family could tell the difference between Sophora japonica and Zelkova serrata. In the recognition process of Zelkova serrata trees finding their way into Korea, it was known as Zelkova serrata on the one hand and as Sophora japonica on the other, and the former, which enjoys a comparative advantage over in terms of the easiness with which to purchase, growth speed and possibility of growing into a long-lived tree was interchanged with Zelkova serrata, a case of acculturation as manifested in the planting of Sophora japonica in the Chirinjeong garden grove.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.2
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• pp.103-117
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• 2013

This research analyzed the spatial components and establishment of the Tap-gol Park according to the plans between 1897 to 1916 when the discussions on the construction of the park began and it was accomplished as an urban park. The results are as follows. The establishment of Tap-gol Park can be divided by three period. Firstly, Tap-gol Park was owned by the royal family from 1987 to 1904. The discussions on construction of Tap-gol Park as a first urban park of Gyeongseong(京城) in 1897, and the private houses were tear down in order to secure land for the park in 1899. Gates and fences surrounding of Tap-gol Park were organized and it was opened in 1902 based on park plane of turtle - shaped. The octagonal pavilion for 'Lee-Wang-Jik musical band(李王職音樂隊)' was relocated in the southwestern part of the park in 1903. Secondly, Tap-gol Park was used actively by the public between 1910 to 1913, because it was opened for individuals. Also The boundary of Park were changed by surrounding facilities and recreational facilities and benefits was complemented for users. Tap-gol park was opened at nighttime in August 1913. Tap-gol Park was used as a place of amusement park. Thirdly, commercial facilities were made as the park facility between 1914 to 1916. The purpose of 'Kkikdajeom(喫茶店)' was similar to the one of modern cafes. It was built as a typical Japanese tea-house with a small pond having an island and a bridge constructed inside. With the increase of usage of Tap-gol Park as a recreational area by the citizens in 1916, the pavilion as a rest area and toilet as amenities were supplemented. Superintendent's office was equipped too. Simple chairs made from the wooden logs were installed around greenhouse, concert hall, the Wongaksa Buddhist temple(圓覺寺址十層石塔), and the flower garden was fenced round. After the relocation of Yongsan music band to Tap-gol Park, the existing concert hall was demolished. The shape of the park which was seen from the pictures of the magazines of 1920s were achieved as early as 1916. The importance of this research includes the basis to revise the errors of the preexistence researches and value of historical material of the design plan reference of the park which was accomplished during the Japanese colonial era. Also this research is to study on the spatial components of the modern landscape architecture and parks.