• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.3
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• pp.22-32
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• 2011

This study explored the architectural nature, the thought reflected in the place and the 'meaning-landscape' characteristic of a place, to where a retired scholar had lived. The object of the study is the Maechun-Byulup Toesu-jeong wonlim, which consists of a summer house and a garden forest. The results of the study are as following. Toesu-jeong wonlim is located at Daejeong-ri, Sannae-myeon, Namwon-si. It had been built by Maechun Park Chi-Gi in 1870 for his residence after retirement. It is a villa type pavilion and a garden forest which have Banseondaegi(伴仙臺記), Banseondae-10-yeong, Toesu-jeong(退修亭) Sangryangmun, a writing dedicated when putting up the ridge beam of a wooden house), Toesu-jeong Wonwun Byeongsoseo, hanging boards and tablets with poems written on them. In the Toesu-jeong wonlim, there are various 'meaning-landscapes' such as the Maechun-Byulup, Banseondae, Yabakdam and Simjinam together with engraved calligraphy related to the landscaping culture. It is also possible to find the remains of beautiful engraving on the stones and woods at Goksoo Yoogeo(曲水流渠) that suggest the banquets they had while discussing the elegant tastes and appreciating the landscape. The Toesu-jeong wonlim consists of the Toesu-jeong area(a pavilion), the Gwanseon-jae area(a shrine) area and the Gyejeong area(a garden with a brook) area. The pedantic 'meaning-landscape' elements, as the residence of retired scholar who spent his remaining life with elegant tastes, and the expertise of Maechun Park Chi-Gi, as a landscaping architect who built a villa and a garden forest in the motif of a Taoist hermit, can be extracted through the Banseondae-10yeong. The Banseondae-10yeong is the first Toesu-jeong poem and consisting of the Samseon-dae, Sejin-dae, Samcheong-dam, Yabak-dam, Samseo, Takgeum-dam, flat stones, caves, stone sculptures and harvest. The existing vegetation and plants in the Toesu-jeong wonlim are; natural pine forest in the rear garden, zelkova trees, wild cherry trees, apricot trees and pine trees bent to the waterfront direction. Except some ornament-species and shielding-species such as the poplars, most of current trees and vegetation keep the shape of the original Toesu-jeong wonlim landscape.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.1
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• pp.41-51
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• 2015

Gosan Yoon, Sundo's Gumswae-dong Garden Heritage has been designated as a National Historical Site 432 including Hyunsan old fortress wall. The site requires maintenance planning. For the plan, it also requires the consideration of Gosan's written documents describing the garden heritage and the site survey with on-site inspections for authentic maintenance approaches. It should be based on the thorough comprehension of historical remains. The site is a traditional ancient garden, so its approaches should be different with a historic structure and building. For the planning, the study conducts the interview of residents and experts, literature review, the investigation of historical materials, site survey, and the analysis of aerial photography. The results are following:5) Firstly, the paper suggests three types of an excavation area selection: core, recommend and investigation. Secondly, of 22 landscapes named by Gosan, it has the plan of guidance facilities, vegetation maintenance, safety facilities, landscape maintenance as view points, pathway maintenance, deck, and halting place. Thirdly, it also suggests pathway plan for authentic garden promenade according to the literature of Gumswaedong-Gi, an old map and aerial photography(1967, 1976, 1990), and interviews with residents. Fourthly, it suggests vegetation refurbishment at the site to check erection time and to require a preservation plan. In a case of no historic remains part, it also has a plan of amenities for visitors and wetlands for biodiversity of ecology and landscape. Finally, although it requires excavation and more historical evidences for the Hyunsan fortress wall, it suggests a maintenance plan of Pyeonchuksseong and Hyeopchuksseong partially.

• 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.38 no.4
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• pp.49-57
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• 2020

Traditional landscape is a cultural asset left by Seonhyeon to modern society, and it can not only understand the landscape culture of ancient tradition but also provides / provided a new creative material for modern landscape designs / designed. However, it is well known that Korea and China have a relationship between the development and exchange of landscaping in a global background, the succession of traditional landscape architecture culture in a global background covers many dimensions, including protection, development and innovation, and that "traditional and modern" and "regionally and internationality" should be harmonized with each other. This study uses traditional Korean and Chinese landscaping buildings as research subjects to extract and organize related data through various channels, including basic literature research that understands the history and culture of the two countries. I interpreted the cultural backgrounds of the two countries by dividing them into religious ideas, traditional culture, and natural views, and highlighted the history of development and the relationship between the two countries. Based on this, it analyzed the differences created by traditional landscaping between Korea and China, and also specifically analyzed the "creation of righteous army" and "the law of righteous army." In particular, this study sought to inherit and innovate traditional landscape culture for the internationalization of "One Belt, One Road" based on the characteristics of Korea and China's landscape through a comparative analysis of the construction elements and methods of Yihwawon of the Ming and Qing periods and Gyeongbokgung Palace of the Joseon Dynasty on the theoretical background of landscaping and the significance of landscaping. The direction for the development and exchange with landscaping between the two countries was presented in line with the development trend of Korea-China landscaping in the global environment. In the future, the development of landscaping between the two countries is expected to be key to international cooperation in traditional culture, creative combination of local characteristics, creation of a harmonious landscape architecture environment, and co-prosperity of various cultures.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.3
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• pp.26-36
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• 2018

This study aims to examine the characteristics of landscape through the analysis of location and the landscape of Gugok while also conducting the empirical study through the literature review, field study, and digital analysis of the Okgung Gugok. Oksan Gugok is a set of songs set in Ogsan Creek(玉山川)or Jagyese Creek(紫溪川, 紫玉山), which flows in front of the Oksan Memorial Hall(李彦迪), which is dedicated to the Lee Eong-jeok (李彦迪). We first ascertained the location and configuration of Oksan Gogok. Second, we confirmed the accurate location of Oksan Gogok by utilizing the digital topographic map of Oksan Gogok which was submitted by Google Earth Pro and Geographic Information Center as well as the length of the longitude of the gravel measured by the Trimble Juno SB GPS. Through the study of the literature and the field investigation, The results of the study are as follows. First, Yi Eonjeok was not a direct composer of Oksan Gugok, nor did he produce "Oksan Gugokha(Music)". Lee Ia-sung(李野淳), the ninth Youngest Son of Tweo-Kye, Hwang Lee, visited the "Oksan Gugokha" in the spring of 1823(Sunjo 23), which was the 270th years after the reign of Yi Eonjeok. At this time, receiving the proposal of Ian Sung, Lee Jung-eom(李鼎儼), Lee Jung-gi(李鼎基), and Lee Jung-byeong(李鼎秉), the descendants of Ian Sung set up a song and created Oksan Gugok Music. And the Essay of Oksan Travel Companions writted by Lee Jung-gi turns out being a crucial data to describe the situation when setting up the Ok-San Gugok. Second, In the majority of cases, Gogok Forest is a forest managed by a Confucian Scholar, not run by ordinary people. The creation of "Oksan Bugok Music" can be regarded as an expression of pride that the descendants of Yi Eonjeok and Lee Hwang, and next generation of several Confucian scholars had inherited traditional Neo-Confucian. Third, Lee Jung-eom's "Oksan Donghaengki" contains a detailed description of the "Oksan Gugokha" process and the process of creating a song. Fourth, We examined the location of one to nine Oksan songs again. In particular, eight songs and nine songs were located at irregular intervals, and eight songs were identified as $36^{\circ}01^{\prime}08.60^{{\prime}{\prime}}N$, $129^{\circ}09^{\prime}31.20^{{\prime}{\prime}}E$. Referring to the ancient kingdom of Taojam, the nine-stringed Sainam was unbiased as a lower rock where the two valleys of the East West congregate. The location was estimated at $36^{\circ}01^{\prime}19.79^{{\prime}{\prime}}N$, $129^{\circ}09^{\prime}30.26^{{\prime}{\prime}}E$. Fifth, The landscape elements and landscapes presented in Lee Jung-eom's "Oksan Gugokha" were divided into form, semantic and climatic elements. As a result, Lee Jung-eom's Cho Young-gwan was able to see the ideal of mountain water and the feeling of being idle in nature as well as the sense of freedom. Sixth, After examining the appearance of the elements and the frequency of the appearance of the landscape, 'water' and 'mountain' were the absolute factors that emphasized the original curved environment at the mouth of Lee Jung-eom. Therefore, there was gugokga can gauge the fresh ideas(神仙思想)and retreat ever(隱居思想). This inherent harmony between the landscape as well as through the mulah any ideas that one with nature and meditation, Confucian tube.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.34 no.2
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• pp.27-34
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• 2016

The results of investigation on the spatial composition and landscape characteristics of Shimwon-pavilion garden built and enjoyed by Jo Byeong-sun in 1937 during the period of Japanese colonialism based on 'Shimwon-pavilion Soosukgii(水石記)' and 'Shimwon-pavilion Poem of 25 Sceneries(二十五詠)' contained in 'Anthology of Giheon(寄軒)' are as follows. 1. Shimwon-pavilion garden is assumed as Byeol-Seo garden based on the planning background and contents of Gimun and the observations on spot. By its location, it is classified as 'Planted forest' with a pine forest in the north and 'Byeol-Seo of mooring type' with Guyacheon flowing in the garden. It is about 400m away from the main house in the straight-line distance. 2. The meaning and attributes of reclusiveness are well represented in the 'screening structures' all around Shimwon-pavilion garden with Hakrimsan, a Gasan(假山) in the north, vines on Chwibyeong(翠屛) in the east and west, Eunbyeong(隱屛) of stone walls along with Guyacheon in the south, which shows the spirit of Giheon who adored the Taoistic life. 3. Shimwon-pavilion garden, located in the Songrimsa, a temple of thousand years, is a place of consilience where Buddhism was accepted, Taoistic life was pursued with Tao Yuan-ming's philosophy regarding rural areas and romantic sensibilities of Li Po, called poem master(詩仙), the confucian values of Zhu Xi were realized. Giheon intended to build and enjoy this place as a microcosm and shelther where he unfolded his own view of learning and cultivated his mind. 4. 25 sceneries on Shimwon-pavilion consist of 5 sceneries in the space of pavilion(architecture) and 20 sceneries in the outer garden. First, 5 sceneries consist of ancillary rooms for various uses, including Jeongunru, Amsushil, Wiryujae, Iyeoldang, and Jeong-Gak Shimwon-pavilion embracing them, which shows that Shimwon-pavilion is a place to foster younger students. And 20 scenary is divided into 9 sceneries on the natural spaces and 11 artificially created facilities. 9 sceneries are engraved on the rocks as described in 'Seokgyeonggi'. 5. 4 sceneries of the indoor scenery lexemes(亭閣 心遠亭 怡悅堂 停雲樓 闇修室) were intended to be recognized by the framed pictures, 5 places among the scenery lexemes in garden(龜巖 醒石 隱屛 兩忘臺 東槃) by letters carved on the rocks, and 8 places(君子沼 杞泉 天光雲影橋 芳園 槐岡 柳堤 石扉 東翠屛) by sign stones, but signs of 8 sceneries are not currently identified because they have been be swept away and demolished. 6. A variety of plant landscapes with various meanings and water landscape with various types are contained in 25 sceneries - Sophora symbolizing a tree for scholar in Gehgang(槐岡), Willow symbolizing Tao Yuanming and continued vitality in Yooje(柳堤), Boxthorn symbolizing family togetherness in spring(杞泉), vines and herbal plants and waterfalls(隱瀑), shallow pond(君子沼), pond(湯池), water hole(杞泉), water flowing in the middle of rock(盤陀石), water flowing between the rocks(水口巖). 7. While Shimwon-pavilion garden is a garden near the water, the active involvements with 11 sceneries directly built is distinguished. The other pavilion gardens are faithful in engraving the names by setting the scenery lexemes of the nature-oriented Gyeong(景) and Gok(曲) near and far, but Shimwon-pavilion garden is a garden for active learning(修景) with the spaces built to match with the beautiful nature and to show the depths of space off.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.2
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• pp.9-22
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• 2010

This research is attempted to investigate Dongcheon-rock inscription- to understand symbolic meanings from inscribed texts and to find its construction purpose. For the investigation, 25 target areas were selected for field exploration and literature review regarding Dongcheon were also performed. Several design characteristics of Dongcheon are as follows: First, Dongcheon has four criteria according to creation purpose: residential type(家居地型), hermitage type(隱棲地型), nature excursion type(山水遊覽型), aesthetic scenery type(勝景型), moral training type(修身型) and spiritual discipline type(修道地型). This category shows that Dongcheon is constructed at residential area, shelters, and place for leisure, mortal training and spiritual discipline. Second, Dongcheon is also classified by its location: location on village entrance in a deep forest(深山同口型) and location on near stream(溪流隣接型); location on near stream has also two types(連繫型, 單一領域型): location on an independent territory and location horizontal ground(平地型). Through garden creators' managing their garden in forest, valley and scenic spots, they pursue utopia. Third, naming is a way to create new landscape places. By naming a certain natural landscape as Dongcheon, the landscape is symbolized as utopia, appearing fairyland. Designer's desire and thoughts are saturated in Dongcheon.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.1
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• pp.46-56
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• 2012

The research results of tracing the Landscape Philosophy of Hageowon garden(何去園) in Musu-dong, Daejon of Youhwadang, Kwon, Iijin(權以鎭, 1668-1734) is as below. The ideological background of the protagonist reflected in Hageowon is the Hyoje Ideology(filial piety and brotherly love, 孝弟) of Sinjongchuwon(painstakingly caring for one's ancestors), Musil ideology(pursuing ethical diligence and truthful mind, 務實) based on sadistic tradition and ethical rationalism, Confucionist Eunil Ideology(ideology on seclusion, 隱逸) of Cheonghanjiyeon(quiet relaxation, 淸閒之燕), and the Pungryu ideology(appreciation for the arts, 風流) of Taoism in the Taoist style. Thus, by substituting these ideological values into a space called Hageowon, the Byulup gardens(別業) such as the Symbolic garden(象徵園), meaning gaeden(意園), and miniascape garden(縮景園) were able to be constructed. 2) The space organization system of Hageowon is generally classified into three phases considering the hierarchy. The first territory is the transitional space having residential features, which is an area to reach peach tree - road(Taoist world 桃經) from Youhwadang(有懷堂). The second territory is a monumental memorial space where the Yocheondae(繞千臺), Jangwoodam(丈藕潭), Hwagae(花階), and the ancestral graves take place, centering on the yards of Sumanheon(收漫軒), and the third territory is the secluded space in the eastern outer garden where the mountain stream flows from the north to south and which is the vein of the left-hand blue dragon(靑龍) of the guardian mountain of Hageowon. 3) Symbolically, the first phase has symbolized the space as a meaningful scenery by overlapping the Confucionist place of Youhwadang - Gosudae(孤秀臺) - Odeokdae(五德臺), and the mystic world of Jukcheondang(竹遷堂) - peach tree - road(桃徑). The second phase, which is the space of Sumanheon(收漫軒), Yocheondae, and Jangwoodam, the symbolical value of Sinjongchuwon(愼終追遠) and the remembrance and longing for one's parents are reflected. The third phase, which is the eastern outer garden of Hageowon and where the mountain stream flows from the north to south, is composed of the east valley(東溪) - Hwalsudam(活水潭) - Sumi Waterfall(修眉瀑布). More specifically, (1) Mongjeong symbolizes the life of gaining knowledge through studying to realize one's foolishness, (2) Hwalsudam symbolizes a transcending attitude in life refusing to pursue wealth and fame, and (3) Jangwoodam symbolizes the gateway to the fairyland to enter the world of mystic gods. 4) The rationale behind Hageowon is that the two algorithms of Confucionism and Taoist Theory appear repeatedly and in an overlapping way. The Napoji(納汚池) and Hwalsudam, which pertains to the prelude of space development, has symbolized Susimyangseong(修心養成, meditating one's mind and improving one's nature), which is based on ethical rationalism. Moreover, if the Monjeong sphere pertaining to the eastern outer garden of Hageowon takes the Confucionist value system as its theme, including moral training, studying, and researching, Jangwudam, Sumi Waterfalls, and Unwa can be understood as a taste of Cheokbyeon(滌煩, eliminating troubles) for the arts where the mystic world is substituted as a meaningful scenery. 5) The miniascape technique called artificial mountain was substituted to Hageowon to construct a mystic world like the 12 peaks of Mt. Mu(巫山). By borrowing the symbolic meaning expressed in old poems, it has been named 'Habang(1/何放), Hwabong(2, 3/和峯), Chulgun(4, 5, 6/出群), Sinwan(7/神浣), Chwhigyu(8, 9, 10/聚糾), Cheomyo(11/處杳), Giyung(12/氣融).' The representative poet reciting artificial mountain were Wangeui(汪醫), Nosamgang(魯三江), Dubo(杜甫), Hanyou(韓愈), Jeonheaseong(錢希聖), and Beomseokho(范石湖). They related themselves with literature by transcending time and space and attempted to sing about the richness of the mental world by putting the mystic world and culture of appreciating the arts they pursued in the vacation home called Hageowon.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.2
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• pp.99-107
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• 2011

This study is aiming to acquire data for enhancing genuineness of restoration through reviewing external and internal scenery of Baegun-dong Wonlim such as Baegun-dong 8 Objects of Scenery(pines, bamboos, chrysanthemum, orchid, maehwa blossom, magnolia, fiddle and crane) and 12 Scenic Spots and reviewing internal and external scenery of Baegun-dong Wonlim such as views and scenery for plantation. For Baegun-dong 8 Young which sang songs about scenic spots of Baegun-dong Wonlim it seemed that its head words were formed through borrowing rhyming words from caption of Baegun-dong Yuseogi(白雲洞幽棲記). Accordingly it seemed these scenery secured its status of Wonlim from the beginning. Particularly the words of fiddle and crane in 琴棋書畵(Geumgisuhha) implied that playing Komungo and brushwriting were firmly rooted as romantic pursuits of classical scholars of that time. In consideration of distance upto Okpanbong which is one of 12 scenic spots of Baegun-dong radius of outer circumference is estimated to be around 1.6km. From Okgpanbong, the epicenter, Sandagyeong, Baegokmae, Hongokpok and Pungdan etc. correspond to transitional space. And inner scenery was formed with hub of thatched cottages and bowers surrounded with chrysanthemums, poenies, rhododendron, Phyllostachys bambusoides, pines and upper and lower water paths. Thus it seemed there was scenic structure of centrifugal nature as well as of multiplicity. Forms of majority of water paths with residual structure found in the country have streamlined forms on the other hand Baegun-dong water paths have straight line which almost dominate inner gardens in terms of scale and forms thus revealing its extraordinary idea and design. In order to promote genuine restoration of Baegun-dong Wonlim it will be necessary to have consideration from standpoint of managing perspective to assure presentation of gradual scenery with elements of scenic objects for outer view among 12 Scenic Spots.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.40 no.3
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• pp.36-45
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• 2022

This study examines the historical transition process of Hwanseonjeong Pavilion in Suncheon, identifies the landscape of the original Hwanseonjeong Pavilion in the past and its constituent elements, and compares it with the landscape of the present Hwanseonjeong Pavilion at Jukdobong area. It was intended to identify the problems and draw implications for future restoration of Hwanseonjeong Pavilion. Hwanseonjeong pavilion, the subject of this study, was built in 1543 by Tong-won Shim, the governor of Seungpyeong, as a garden architecture for government. Since then, it has been renovated several times, and as a pavilion representing "Seonhyang(immotal world)" Suncheon in the past, it was located along with an artificially created lake and other elements of the garden at a location where can be seen Dongcheon stream and Jukdobong Peak on the opposite side at a glance. Hwanseonjeong pavilion, which had been safely maintained during the Japanese colonial period, was lost on August 28, 1968 due to a major flood in Suncheon. The difference between Hwanseonjeong Pavilion and other lost is that another Hwanseonjeong Pavilion for the role of archery was built on Jukdobong Peak in 1935, before it was destroyed. The restoration case of Hwanseonjeong pavilion provides the following important implications for the restoration of pavilions as a garden architecture: First, the value of a pavilion is not formed from the building itself, but from the relationship with the surrounding landscape. Therefore, restoration of a pavilion should not be approached in the same way as restoration of buildings. Restoration of a pavilion requires efforts to understand the existing landscape value and to restore landscape elements together with buildings. Second, an artificially created long north-south lake along with Hwanseonjeong pavilion was a very important landscape component and a means of providing a way to enjoy the landscape. For restoration in the cultural context of Hwanseonjeong pavilion, efforts are also required to restore not only the architecture, but also the experience of cultural activities through an integrated examination and restoration based on an understanding of the cultural activities performed in Hwanseonjeong Pavilion. Third, compared to the past original Hwanseonjeong Pavilion, the existing Hwanseonjeong Pavilion shows a different shape, composition, scale, color, etc. In terms of the restoration of buildings, it is thought that restoration will be possible only when restoration is done through more accurate historical evidence, research, and investigation.