• Journal of Environmental Science International
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• v.12 no.9
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• pp.921-934
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• 2003

The purpose of this study is to identify the characteristics and differences of borrowed landscape in traditional arbors and temples in Jeonbuk province. And this study is attempted to widespread the width of understanding the traditional landscape borrowing method for contributing in modem reception and creation of landscape architectural culture. For this, 30 traditional arbors and 30 traditional temples in Jeonbuk province were selected. The orientation of the place of view point, distance, vertical and horizontal angle were surveyed for identifying the structure of borrowed landscape. Furthermore main element, auxiliary element and a media of borrowed landscape were surveyed also. Two hypothesis were established for verifying the feasibility and real effectiveness of research results. First, the willingness of borrowed landscape shall be being in establishing traditional arbors and temples. Second, this willingness of borrowed landscape shall be accomplished in arbor space more positively than in temple space. The results of this study are as follows; 1. In temples, the surrounding landscape adapted in Buddhism principles are principally expressed, whereas in arbors, congregating landscape, variety landscape, background landscape for establishing good view point and enframed landscape are induced for making authoritative landscape as various borrowed landscape techniques. 2. The distance to borrowed landscape in temples is involved in far landscape region, whereas that in arbors is in middle and near. In comparative with temples, the arbors shows variety in distance to the borrowed landscape objects. 3. Down view borrowing is used generally in arbors, whereas upper view borrowing is used in temples at the view angle to the borrowed landscape objects. 4. Borrowed landscape objects are more considered factors than view scope in arbors. Main elements for borrowing landscape are very various arbors, but those are simple as mountains and peaks in temples. And natural elements are much more than artificial things in arbors as a media of borrowing landscape in comparative with temples.

• Korean Institute of Interior Design Journal
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• v.17 no.1
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• pp.30-38
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• 2008

Borrowed landscape is an Oriental gardening method to draw inside external natural landscape, and borrowed landscape of Japan has a different characteristic from that of Korea or China nature is manipulated and re-interpreted by human will in the course of applying it to architectural space. In other words, not the original scenery, but manipulated one appears which is cut, reduced, or deleted by architectural elements such as wall, window, or fence. Therefore, this study examined how architectural structure of Ando Tadao symbolizing modernist architecture understood and adopted Japanese traditional views on nature, that is, borrowed landscape. To this end, on the basis of the understanding on 'polymerization of abstraction and form' he mentioned, his geometric architectural principles are discussed, since this serves to be an important beginning of architectural concretization by the concept of 'form' experienced and perceived by human being through geometric means called architecture 'abstraction.' The findings of this study are as follows: first, it was found that Ando Tadao generates borrowed landscape effects by polymerizing and manipulating his simple and geometric structures with each other and thereby editing natural scenery, while Japanese traditional borrowed landscape introduces source scenery inside, through condensation and symbolization. Second, the results of this study revealed that his architecture functions to transcend external and internal realm of a space, which is also observed in Japanese traditional architectural borrowed landscape. Therefore, this study is considered significant in the sense that it proved that Ando Tadao's architectural language is based on borrowed landscape as a specific Japanese traditional element, going beyond the scope of previous studies focusing simply on the introduction of natural elements.

• Korean Institute of Interior Design Journal
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• v.22 no.4
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• pp.78-85
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• 2013

This study employed the Semantic Differential(SD) technique for an empirical analysis of the borrowed landscape-the so-called interaction of landscape between space and nature-in traditional Korean space against the cultural backdrop of confucian ideology. Its findings are as follows: First, the study conducted a comparative analysis of the borrowed landscape between Sarangchae(Men's quarters) and Anchae(Women's quarters) and between Soteuldaemun(A lofty gate) and Sadangdaemun(A gate to an ancestral shrine), using the SD technique. Consequently, their marked distinction in the borrowed landscape were found to illustrate the influence of confucian ideology over spatial composition. Second, both the garden and the sky of Sarangchae appeared more open and dynamic, and soft, and comfortable, and warm compared to Anchae. Also, Soteuldaemun looked more open and dynamic than Sadangdaemun. In conclusion, traditional Korean space applies a monistic view of the world to nature and human beings, thereby embodying a philosophical and aesthetic space where humans enjoy their life in harmony with nature while playing with the landscape in a traditional space.

• Korean Institute of Interior Design Journal
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• v.16 no.2 s.61
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• pp.3-12
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• 2007

This study examines the nature-introducing methods between Korea Traditional Architecture and Landscape Architecture dividing them into three; semantic methods, constructive methods and visual methods on the basis of architectural features deduced from Borrowed Landscape theory which is a typical nature-introducing theory in the orient. Through the findings of this study, we can explain the nature-introducing methods of Landscape Architecture by way of the method of the Borrowed Landscape which was frequently used by our ancestors for a long time to Introduce nature in the course of building structures, and we can find several similarities between the Architecture of two fields of both different times and areas. It can be said to be meaningful for us to be able to confirm the contemporary value of Traditional nature-introducing method through the Borrowed Landscape theory. However, we can find that there is a difference between Traditional Architecture and Landscape Architecture in looking at nature. If the Landscape Architecture which emerged recently as a result of recognizing the importance of nature, maintains the nature view of regarding nature and architecture as equal, the nature view of Traditional Architecture is essentially different in that it is humble and aims to return to nature. The most outstanding feature of nature-introducing way in Traditional Architecture obviously implies something different from the various architectural trends of 'nature-human', or 'nature-architecture' which appeared breaking the relation of dichotomy. It is the thinking that 'nature and human are continual', and 'human is part of nature'; that is, 'the humbleness to nature'.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.4
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• pp.59-69
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• 2011

In this study I examined the status of the borrowed scenery of Soshaewon and analyzed the structure of Byeolseo Gardenusing "Soshaewon Sisun(瀟灑園詩選)", which consists of a collection of poems written by people who visited Soshaewon during Joseon Dynasty with bibliographical explanations and "the Thirty Poems of Soshaewon", written by Yang, Gyeong Ji who was the fifth generation from Yang, San Bo. This study expanded the concept of borrowed scenery to include visual, synaesthetic, temporary and ideal features based on the theory of borrowed scenery in "Won Ya(園冶)", which emphasized the time feature and change, and explained that a landscape garden could be perfected by the presence of borrowed scenery beyond the previous borrowed landscape which was recognized through visual value. It would be correct to understand that the visitors to Soshaewon accomplished imaginary scenery(意境) through recreating Soshaewon into a space that stimulated poetic sentiment and aesthetic sensitivity by creating four types of borrowed scenery of a landscape garden composed of both real and fictitious scenery. At present the scope of Soshaewon tends to be limited to its inner garden covering the stream garden. However, in this study I took a new approach in defining the scope of Soshaewon, providing three types of Byeolseo Garden area ; more specifically, the expanded scope of Soshaewon covers the outer garden that secured the outlook of visual, temporary and synaesthetic objects for borrowed scenery and the right to use by purchasing more area by the descendants and the ideological garden that was composed of the ideal borrowed scenery created by the Confucian friends and colleagues who praised the Jeungamcheon Stream area and various famous mountains longing for the immortal world.

• The Journal of Natural Sciences
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• v.18 no.1
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• pp.77-90
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• 2007

This study aims to discussion the characteristics of location and spatial organization of the Byeong San confucian academy. To do this, we studied in two ways; analysis of the present conditions and photographing, research materials about the form of physical structure and review of historical documents. The result of analysis in the sight of the location and spatial structure was good matched. The spatial organization of the Byeong San confucian academy was divided into lecturing space and sacrificial space. In the Mandaeru on Byeong San confucian academy was imported borrowed scenery of surrounding landscape and while placed arranging various constituent elements of the small-scale pond and visual perception in trying to formalize the landscape. The result of this study, analysis of axis and terrace shows backgrounds of these locations shows that the political and social, economical phenomena were influenced to the locations and spatial organization of the Byeong San Confucian Academy.

• Journal of the Korean Institute of Landscape Architecture
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• v.21 no.1
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• pp.98-106
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• 1993

As a faithful study about the intended plan of builder, this article studied the Dosanseodang(陶山書堂) which is located in the Dosanseodang(陶山書堂). The Dosanseowon is one of the representative Yi-Dynasty' Seowons. Through the review of $\ulcorner$The Writings of Toegye$\lrcorner$. It is found several intended plan of the Dosanseodang(陶山書 堂) as follows. 1. When Toegye located the site of the Dosanseodang in the Dosan, using four criteria such as 1) geographical characteristics(地 理), 2) hills and waters(山水) 3) form and orientation of valley, 4) so-cial characteristics. 2. In the Dosan area, the location of Seodang was determined by the physical characteristics of the valley(orientation and entrance), not by the concept of Fung-sui(風水). 3. The whole spatial structure of Seodang area formed triangle, and the Dosanseodang was located at the angular point of the triangle. 4. The landscape elements of the Dosanseodang falled into the three landscape hierarchy such as a front view, a middle view, and a distance view. Besides the three views, there was a borrowed view which Toegye defined in terms of ownership.

• Journal of the Korean Institute of Landscape Architecture
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• v.50 no.6
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• pp.15-29
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• 2022

The Byungsan Neo-Confucian Academy, a 17th-century World Heritage Site in Korea, is being praised as a manifestation of naturalness or non-artificiality of the traditional Korean borrowed scenery technique (借景, chagyeong). This study, however, aims to reinterpret the chagyeong of the Byungsan Academy (hereafter the Academy) as a device of illusion evoking an idealized vision of nature. In the process of interpretation, 'picture and frame'-a widely accepted expression that represents the chagyeong of the Academy-will be foregrounded as the pivotal concept mediating the change of perspectives from naturalistic to ideological. This study consists of the following three parts. First, it shows that 'picture and frame' represent a modern way of seeing the Academy as an architectural heritage in harmony with nature; it denotes pristine nature and the empty architectural frame that safely circumscribes the innate beauty of the natural landscape. Second, departing from the naturalistic perspective, this study argues that the architectural framework of the Academy composes scenography enticing the viewer to imagine the idealized, Confucian image of nature that compares to the landscape imagery found in the landscape poetry and paintings that were produced and appreciated by the 17th-century Confucian literati. Lastly, based on the above interpretation, this study stresses that the 'picture' one encountered at the Academy in the 17th century was not the framed scene of a natural landscape but the illusion it caused; the architectural 'frame' worked not as a symbol of naturalness but as an institutional apparatus of vision manipulating the way one sees-and therefore imagines-the landscape.

• Journal of the Korean Institute of Landscape Architecture
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• v.17 no.2
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• pp.1-14
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• 1989

The purpose of this study was to develop the principle of space composition in Jungja of a category of korean traditional space. The results which analyzed outside space, prospect angle and preference factors for landscape with making, Jungja which has artificially constructed pond within Gyeongbug province, the subject of study were as fellows ; Size of pond was quite different in each Jungja, and its form was retangular. There was built circle island or figured ten-long life within pond. These pursued harmony of the cosmic dual force or eternal youth. Average angle of depression and horizontal angle from floor of Jungja to pond were respectively 16$^{\circ}$ 23', 48$^{\circ}$ 26'. Average angle of depression to island in pond was 13$^{\circ}$28'. Average angle of depression from floor of Jungia to wall was 2$^{\circ}$58'. With controlling height of wall, there was maintained privacy and used borrowed landscape. Tree within garden was mainly planted a deciduous tall tree, the important species of tree were bamboo, pomegranate tree, crape myrtle, etc. Variables that gave influence on landscape preference degree were things about tree and pond. On prospecting pond, these variables-feeling for shore protection, impression for water, visual depth to pond feeling for shore protection, impression for water, visual depth to pond-gave Largely influences.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.19 no.3
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• pp.46-51
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• 2018

This study is one of a series of studies exploring the locality of Jeju architecture, in which we focused on the works of domestic architects, rather than those of famous foreign architects, as well as on the locality of the phenomenological aspect rather than the conceptual one, so as to reveal the locality in the present situation. It was revealed that the architects had the following viewpoints with regard to the local characteristics of Jeju: first, the hermeneutic aspect of the locality is the architectural application of the traditional Jeju architecture; second, the phenomenal aspect of the locality involves respect for the landscape and natural scenery of Jeju. There are two main ways in which architects can realize the locality that they envisage. The hermeneutic representation of Jeju would be as a locality consisting of traditional houses. The architects mainly wanted to implement the elements of the private houses through the space layout. The phenomenal representation of the locality would require them to respect the landscape and scenery of Jeju and to implement them in its architecture. This was the case if the landscape or landscape elements were directly borrowed from the buildings, or if the buildings respect the scenery or landscape of Jeju.