• Proceedings of the Korean Institute of Interior Design Conference
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• 2005.10a
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• pp.65-70
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• 2005

The human scale of the interior space of a korean traditional residence is normally user-friendly. And this aspect is reinterpreted and implemented in the modern structure. While our conscious awareness has become greatly westernized through the east-west exchanges, the interior of the traditional Korean residence has always reflected the people and their daily lives of the time. In this study, an attempt has been made to identify the aesthetic characteristics of the inner space elements through the analysis of visual perception inside a Korean traditional upper class residence, kangreung Sunkyojang, designated as the 5th Cultural Information Material with regards to the inherent philosophy and human scale that influenced the emotions of the Korean people. The different parts of the interior space of Anchae, and the Symmetrical of Formal, Balance of the walls give a sense of calmness, and the ornaments are used to give gaiety. The ceiling of Yeolwhadang hall give an energetic feeling and pillare are used to enhance spaciousness. In Whalejeong, by making use of similar and continuous lines, the light and darkness was controlled and the link with nature has been emphasized. Different decorations used reflect scholarly spirit.

• Journal of architectural history
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• v.12 no.3
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• pp.131-148
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• 2003

This study has main purpose to understand the traditional house, not by outside researcher's but by inside dweller's view. The house in Geochang, is descendent house of Jeong-On who was faithful scholar at Chosen Dynasty. In order to understand, I restore firstly the house form and space at traditional era, 60 years ago, and every dwellers not only family members but also servants and guests, by interviewing old matriarch. One of the main rules of the house disposition is Ancester worshipping life. Worshipping floor of Anchae, main building, is located unusually in front of Shrine for Jeong-On, in order to connect all activities directly. Sarangchae, men's building, opened to the funeral mourners, is separated by a wall because women have to serve foods and wail at the backside. Space for everyday life is separated by man/woman, insider/outsider, master/subordinate. Agricultural production is also key factor of the space allocation: big storage buildings for rice crop needed to tenant farming. Both activities of ancestor worship ceremony and guest greeting need large kitchen annex area for food preparation and serving space of rear veranda floor. A number of guests visit the house: guest-greeting activity is taken place from the family pavilion, Neungheo-Jeong and Saranchae by the social position. This study show that architectural space and form of the house reflects exactly dwellers life.

• Journal of the Korean housing association
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• v.25 no.5
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• pp.83-91
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• 2014

The main purpose of this research is to understand how the problems, which existing letter-shape houses have, are solved in Unjoru which is one of the letter-shape houses. Furthermore, there is the secondary purpose which is to realize the architectural characteristics of Unjoru through the process from the composition of rooms and buildings to the method of structure and roof formation. This research was approached in terms of architectural design, and as the result, the problems of the existing letter-shape houses was resolved by literally converting the shape of outdoor space to 品-shape form. Moreover through the result, it was recognized that the 占-Shape plan was flexible in responding to the demand of the times, such as the order of precedency within men and women and each generation. In addition to the previous results, it was confirmed that the location of major rooms was also decided by considering the interrelationship with natural environment of surrounding area. Also, in the whole proportion of building's plan, each building, such as ㄷ-shape Anchae and big-sized and middle-sized Sarangchae having 丁-shape form, and major rooms in the each building have proportion system such as 1:1, 3:4, $1:\sqrt{2}$, and 3:5 as aesthetic numerical value. Finally, it was understood that the architectural intention had double-sided characters, one side was authority and dignity in the aspect of shape and another side was practicality in aspect of inner housing life.

• Journal of architectural history
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• v.10 no.1 s.25
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• pp.9-23
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• 2001

This study is for the Kyungduk-Dan(as a altar of Milsung-Daegun) and The Manun-Jae the characteristics(lay out and planning, window patterns, structure, materials) of the the Korean traditional house during the modern era. Before Manun-Jae was used for the house. The Kyungduck-Dan was constructed in August according to the Lunar Calender in 1927. The Manun-Jae(house for Ki-hun Kang, millionaire ) was completed in 1924. Modern Architectures brought to Korea with the bricks, the tiles, the flash doors, the plate grasses, the brass hardwares. These architectural material was used in positive. During the construction of Manun-Jae in 1924, it happened the architectural exchage among a korean, a chinese and a japanese constructor. Though using the air exhaust valve at the kitchen of Ukyung-Kak( old Anchae), it could be assume that the modern convenience and the improvement of residential environments was considered at that period during the construction of Manun-Jae. That construction was elected with the brick($222mm{\times}106mm{\times}50mm$), the chinese colored tile and plate glass such a modem materials. The new shape of the korean lattice window and the wooden flash-door with glass was used. In Ukyung-Kak, the Chan-Maru(service space) and the kitchen such as a service space or concise utility zone was organically connected. Especially, considered the domesitic activity and circulation, the western kitchen sink and the Chan-Maru(service space) was rationally placed. At the Manun-Jae and the Kyungduck-Dan, the architectural characteristic is that the new shape of windows was used. The lattice window at the Ondol room of Ukyung-Kak, was rgadually added the plate glass and the wood plate. The lattice window with the grid shape at kitchen of that building was adapted japanese grid lattice window in korea at that period. It is the sample that korean traditional house was typically influenced from the japanese resident culture. The Manun-Jae and the Kyungduck-Dan as the modern house kept the form of korean traditional architecture, and was partially adapted a modern characteristic space and modern architectural materials. During the japanese occupancy, these residence can be showed the transition in formally.

• Journal of architectural history
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• v.32 no.5
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• pp.69-80
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• 2023

Before the 15th century, the main buildings of the residences of the ruling class in Seoul consisted of Momchae(身梗), Seocheong(西廳), and Naeru(內樓)‧Chimru(寢樓). Based on the equality of the relationship between husband and wife, the couple lived in the main building[Momchae] in the center of the mansion, but based on the individuality of the relationship between husband and wife, each had an area consisting of the same section within the building. Naeru·Chimru was the two floors bedroom building became a common living space for the minister and wife, upstairs in summer, downstairs in winter. In preparation for large gatherings and important receptions, an open-structured West Hall(西廳) was located on the west side of the mansion. Momchae, Seocheong, and Naeru‧Chimru were the common building types and layouts of the residences of the highest ruling class, including high-ranking officials, until the reign of King Sejong. However, from around the time of King Seongjong, Seocheong and Chimru came to be regarded as privileged and luxurious buildings only allowed for the grand prince's residence. The layout of the bedroom, main building (including Wings), Outer Sarang[外舍廊], and Joyangru[朝陽樓] of Prince Bongrim's mansion built in the first half of the 17th century clearly shows the transitional period when the arrangement of chimru, main building, and western office was disrupted and the layout changed to the Inner main building(Anchae for wife) and Outer main building(Sarangchae for husband).

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.1
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• pp.1-11
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• 2010

This study examines the authentic meaning, location, garden layout, and structural characteristics of Suwoojae(守愚齋), the birth house of Garam Byungi Lee, which was the very epitome of the traditional house structure based on literature review, field survey, and the existing measured drawings. The followings explain how rusticity and spirit of scholars, the core concepts of Garam's poetry, were featured in structural and spacial arrangements of Suwoojae as well as its location and physical layout. 1. Suwoojae is enclosed by Cheonho mountain which fans out of Noryoung mountains in East and located on the tail of Yongwha mountain in West. It has proved to be Yangtack Myoungdang according to the Poongsoo theory, Inguljiryoungron; The energy of earth at a certain location results in the better fortune together with the energy emitted from human body. 2. Suwoojae is an official local monument which was built in 1844, late Joesoen Dynasty by Joheung Lee, Garam's grandfather. Some parts of inner-structure connect with the kitchen in the shape of called Gopae. Suwoojae consists of 4 Sarangchae, 3 Gobangchae, and a Jangdokdae behind Anchae. 3. Since inner and outer walls of Suwoojae are distinctly separate from the main structure, its look varies significantly from different angles. Suwoojae, in its entirety, discloses Garam's philosophy, ideas, and ideology on life and the universe. 4. Apricot trees, Japanese-magnolias, aromatic-trees, crape myrtle, white-magnolias, camellia-trees were planted on the left of the walls, and persimmon trees, jujube trees, plum trees, quince trees were at the inner-yard. Especially, trifoliate orange trees a natural monument of Jeonrabukdo draw substantial attention from visitors. 5. The main garden facilities are located in front of Sarangchae: A rectangle pond(14.72m in length and 3.87m in height), the surroundings of the pond and Anchae, rocks that have distinctive shapes. In general, the garden was designed to incorporate the scenery around Suwoojae as a part of its structure and contain the love for nature and aesthetic sense. 6. It seems that the natural surroundings of Suwoojae had helped form motives of Garam's poetry and assisted him in finding subject-matters and identifying the themes of his works. This is well revealed in his poem, Seungwoonjungee.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.1
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• pp.31-40
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• 2015

This study aims to comprehend that Seokpajeong garden for aspect of space change. Spatial characteristics according to the transfer of ownership are classified as period. And investigate the aspect of space change in Seokpajeong garden based on literature and painting, newspaper, photo. The results were as follows. First, Investigate the construction and change of Seokpajeong garden. Accordingly, spatial characteristics of Seokpajeong garden are classified into three period. 1st period is Kim-Heung Keun owned Samgyedong-jungsa garden. 2nd period is Daewongun hold Seokpajeong garden. 3rd period is damaged original form of Seokpajeong garden from Korean War to current time inclusive. Secondly, Kim-Heung Keun owned Samgyedong-jungsa garden has characteristics of water system centric space and many buildings. In addition accept foreign culture like chinese pavilion and Byeoldang Villa. and plant unique flower and leaf in garden. Thirdly, According to Seokpajeong garden folding screen, Daewongun owned Seokpajeong garden accept organization of space in Samgyedong garden. But different locations of Sarangchae in folding screen means possibility of move building to current position. So, additional historical research is required with representation of chinese pavilion location. Fourthly, Seokpajeong garden was damaged from original form to frequent changes of ownership. Transform of geographical features and water system as well as Anchae and Sarangchae, back side of a outbuilding are only the remained among many buildings. Also, Seokpajeong garden is more fell to the subsidiary facility of Seoul Museum than Wonrim. Therefore restoration and recovery of original form are urgent.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.17 no.4
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• pp.420-425
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• 2016

This study discusses the architectural space's phenomenology, focusing on the physical environment and psychological behavior. Kim, Ju-Tae House, which is divided by special relationship, was analyzed by method of constructing space, and behavioral meaning with the perspective of visual structure. Kim, Ju-Tae House was constructed in a clear way by reflecting the users social, and cultural relationship. It has a relational and independent territories by physically surrounding Chae and wall. Each independent limited space is suggesting the space being opened by accessing the space stage by stage. This method of constructing the space makes the user aware of the relative difference from the induced space experience, and recognize the incremental strong isolation. Between the yard, which is located in the center of the house, forms a three-dimensional layer between Sarangchae and Anchae, emphasizing the spacial depth. The physical space is relatively small but because of the environmental conditions, such as the positioning of the observer's perspective, short cycle reorientation, and overlapped layer, it is recognized as far or deep compared to the actual size. This is the relative method as a visual perspective that is intended, and is understood as an active element that induces the psychological attitude by the recognized environment affordability of the user.

• Korean Journal of Heritage: History & Science
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• v.51 no.1
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• pp.48-65
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• 2018

The authors of this paper aim to make a record of the construction process, its symbolic meaning, and the changes in the status of the landscape plants at the Pasanseodang according to the Report on the Pasanseodang written by Park Gyu-hyun in 1874. First, the construction of Samgahun Pavilion, which is located in Myo-ri, Habin-myun, Dalsung-gun, Daegu, took about 90 years and spanned the lifetimes of Park Sungsoo, an 11th-generation descendant of Park Paengnyun (1417~1456) through to Park Kyuhyun, a 14th-generation descendant. It was called the shape of dragon, with its head facing the tail (回龍顧尾形), in feng shui. Second, the village of Pahwoe was founded in 1769, the 45th year of the reign of King Yeongjo, by Park Sungsoo for the purpose of socializing with his friends at his thatched home, and was named after his own courtesy name (Samgahun). Park Kwangseok, the second son of Park Sungsoo, built the sarangchae in 1826 and the anchae in 1869 after his marriage (in 1783). Then, Park Kyuhyun, the grandson of Park Kwangseok, built the pond and planted it with lotus flowers, and built the Hayeopjeong in 1874. The Pasanseodang, as the precursor of the Hayeopjeong, may be related with the name of the hillside region behind Samgahun. Third, a quadrangular-shaped pond with a length of 21m and a width of 15m was also built and planted with lotus flowers. In the center of the pond is a small round island that reflects the world view of the Chosun dynasty, i.e. that the sky is round and the landmass is quadrangular. Meanwhile, the name of the Hayeopjeon reflects the value system of aristocrats who lived a life of leisure and artistic indulgence. They called the eastern room "Yeeyeonhun" (怡燕軒) and the western room "Mongyangjae" (蒙養齋), names which embody their wishes for a good life as a member of the nobility and a bright future for one's descendants. Fourth, in Confucian terms, the authors infer the points of view reflected in the kinds of trees that were planted according to Confucian norms (pine tree, lotus, bamboo), the living philosophy of sustainability (willow), the ideology of seclusion and the search for peace of mind (bamboo), and relief efforts for the poor and a life of practicality (chestnut, oak, wild walnut, lacquer). The authors assert that this way of planting trees was a highly effective design feature of landscape architecture that drew on the locational and symbolic significance of the Seodang. Fifth, the majority of the trees that were initially planted withered and were replaced with different species, except for the locust and lotus, at this point. Nevertheless, a review of the process of construction, symbolic meaning, and original architectural landscape of the Samgahun is of value in demonstrating the extended symbolic meaning of their descendants in terms of the practical loss of the function of the Seodang, the values of Feng Sui (red in the east, white in the west, based on the principles of Feng Sui), the function of repelling evils spirits (kalopanax, trifoliate orange), aesthetic and practical values (sweetbrier, apricot, pear, peach, and oriental oak trees), and the prosperity of the family and the timeless value of honest poverty (silk, crape myrtle, and yew trees).