• 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.39 no.3
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• pp.1-14
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• 2021

This study attempted to examine the loving pigeon culture practiced in traditional gardens and to illuminate the aspect of pigeons as a landscape animal material. In order to understand the culture of enjoying old garden through pigeons, the contents were analyzed for the translated version of the old literatures and paintings. Pigeons have been used as Jeonseo-gu(傳書鳩) and also for medicinal purposes and food. Pigeons have various symbolic meanings such as abundance, hospitality, and longevity. From the Goryeo Dynasty to the early Joseon Dynasty, pigeons were raised in the palace and private garden. In the late Joseon Dynasty, temporary trend of ornamental pigeon culture occurred. Pigeons were synesthesia materials that enriched the forest. Various beautiful pigeons created a variable landscape of the primeval forest as a moving landscape material. The bell sounds that appear differently depending on the pigeon's movement led to a rich auditory experience of the landscape. The pigeon house was an ornamental element that enriched the old garden along with the pigeon. The owners of garden were involved in gardening through the act of buying a pigeon house and placing it in the garden or making a pigeon house themselves. In addition, the writers planted plum trees, peach trees, apricot trees, and hawthorn trees as a symbol of spring and a source of food for pigeons, and expressed them in poems and paintings. This study has a limitation in that the translation of the old text was used as an analysis data. The follow-up studies on specific cases of raising pigeons in the old garden, in modern and contemporary landscape spaces are urged.

• 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.30 no.4
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• pp.1-13
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• 2012

Landscape Garden tradition of excellent examples of places that are focused on hydroponics management. South Korea and China, this thing was noticeable among them South Korea which emphasizes the natural contours of the natural streams in accordance with the basic idea to use examples that feature will do. Gardens in China by constructing a flat terrain also naturally expect to find examples of conscious ideas depending on the water and the mountains are characterized. These differences and similarities through the Gardens of the tradition of separating the two countries to build their Garden by site Soswaewon and Zolzengwon appear in the target hand is to identify the characteristics between the director. Research methods literature survey, field survey of the natural environment through the plantation, background history, the people who intend to study, to configure the ground water space, Jian, construction and management has been studied in hydroponics. As a result, Damyang-gun, Jeollanam-do, South Korea in the Garden of the Soswaewon(瀟灑園) organization with inner garden and outer garden of a small, but the scale of production to Yang San-Bo's 'eunilgwan' implement security based rock mooring takes the form of a linear channel and the water came down from riding pending to avoid artifacts gathered again took the form of streams flowing into that. Hutton was a rubble pile structure Jian. Building an Gwangpunggak, Jewoldang, as Daebongdae consist, respectively, depending on the purpose of the mooring was deployed by focusing. The other hand, is located at Suzhou, Jiangsu of China Zolzengwon(拙政園) flat terrain is located on. Largely divided eastern gardens, Central Gardens and the Gardens of the West was conducted by five thirds of the total area of Water accounted for. Pavilion the center of the pond, Seokgasan achieve a variety of landscapes and architectural features that are most of the Ming. The two countries, each region's natural environment and human environment, different, unique characteristics to each other in the implementation of a unique hydroponic Garden tube and ideological backgrounds, but especially the 'eunilgwan' and the terrain that is divided according to the conditions of this study, so fulfilling Garden was conducted.

• Proceedings of the Korean Institute of Landscape Architecture Conference
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• 2022.10a
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• pp.17-18
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• 2022

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.3
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• pp.68-79
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• 2012

This study examines features in using Japanese apricots that assume a leading place with a special symbolism among various species of trees adopted to traditional gardens from a landscaping view. Specific aspects of how Japanese apricots were adopted to traditional gardens are as follows. First, while Japanese apricots are used in modern landscape space, there traditionally were six types in use of Japanese apricots as Tammae(探梅) Jungmae(庭梅) Bunmae(盆梅) Byoungmae(甁梅) Chomae(造梅) and Mukmae(墨梅). Second, Japanese apricots planted in gardens[庭梅] were placed mainly in a front yard of Sarang-Chae(the men's part of a traditional house) took a central area because symbolism and ornamental values of Japanese apricots suited what classical scholars sought. Preferred planting sites at that time include south of the building, the yard of Sarang-Chae, space in front of windows and next to fences and waterside. Third, Japanese apricots in traditional gardens were planted in five ways; Dansik(單植) Daesik(對植) Gunsik(群植) Yeolsik(列植) Honsik(混植). Dansik was the most common way in planting Japanese apricots and Daesik intended to enhance orderedness and symbolism of space. Japanese apricots for appreciating in an open field took the form of Gunsik in general but Honsik was also used with species of special symbolism. This study offers an opportunity to grasp traditional planting methods of Japanese apricots based on understanding of cultural aspects of Japanese apricots by focusing on Japanese apricots, the representative traditional species of trees. Results of the study would help to recognize the need to newly understand Japanese apricots and be useful information to plant and use Japanese apricots in a traditional way.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.1
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• pp.119-128
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• 2015

The purpose of this study was to look at the Jungeun-sasang(中隱思想) and garden of Bai Juyi in the perspective of landscape architecture and inquiry the meaning of Bai Juyi's construction activities, thought shown in his gardens, and how his construction method influenced later and the result is as follows. First, the 'Jungeun-sasang(中隱思想)' of Bai Juyi improved the Eunil-sasang(隱逸思想) and the birth of 'Jungeun-sasang(中隱思想)' became a clue to be developed up to the garden art. In addition, different from before that built gardens hiding in mountains, it prepared the turning point to build gardens in cities. Second, the space principle of 'paradise' shown in the garden of Bai Juyi was a means and principle to absorb the nature such as positioning rocks, formation of mounds, and positioning of flowers in the limited and small spaces different from previous gardens of splendid and magnificent. The garden became not only outer scene but also the 'Simwon(心園) that reflected the inside world. 12) Third, the gardening act and thought appeared in the poem of Bai Juyi were expressed in pictures and his own gardens as his poem was borrowed and quoted. As a result, Bai Juyi's literary view on the art and thought prepared the base in the popularity of literary gardens and forming of characteristic styles through practical activities that he managed his own gardens. Forth, Bai Juyi's level of Confucianism realization and delicate aesthetical consciousness gave meanings to the scene of gardens through the discovery of the fusion of mountains and creeks, ways of adding, and the aesthetical consciousness of Taihushi(太湖石)and influenced in the forming of garden culture later on.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.1
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• pp.120-126
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• 2014

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.3
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• pp.168-182
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• 2014

Several Sungsi Gardens were built up in Old West Village during the period of the Joseon Dynasty. Most of them were painted as True-View landscape painting. This study aims at examining original locations of representative gardens of the Old West Village by empirical investigation of related True-View landscape paintings. It seeks to demonstrate the garden landscape in True-View landscape painting by utilizing ArcGIS, 3D topographic modeling to observe geographical locations and landscape more realistically. After forming 3D topographic modeling of estimated locations of the gardens, location of objects at composition of 3D modeling similar to True-View landscape painting was found by shifting viewpoints. And by overlapping the cadastral map on the modeling, we could verify the current lot number of the garden sites. The interpretation of processes and results are as follows. In the early stage, Chungpunggye garden was built at the very end of Mt. InWang valley. The site is hidden from the outside, and appeared as 'Enclosed Landscape'. In the middle stage, Chunghuigak garden was built between Okryu-dong valley and the surrounding ridge. It appeared as 'Semi-Opened Landscape'. In the late stage, Seowon garden was built at the highest level of the ridge among the research areas. It appeared as 'Prospective Landscape'. In the last period, Songsukwon garden, was built at a point of contact of the ridge end and surrounding residential area. So it appeared as 'Opened Landscape' to the town. In other words, the location, landscape and social function of the gardens in Old West Village had been gradually opened in Joseon Dynasty.

• 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.