• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.37 no.1
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• pp.76-84
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• 2019

This study was conducted for the purpose of examining the Outstanding Universal Value, World Heritage Values, in Suzhou classical gardens and the operational method of the protection management of historic gardens, and the results of the study are as follows; The first, as a world heritage, Suzhou gardens proved OUV by showing the taste and lifestyle of the literati, the unique class of Chinese history, to the natural environment of the East Yangtze Delta region. In addition, it showed the exchange of international culture with unique Chinese garden techniques. Second, a authentic reconstruction of garden have original value because it exist records of the near past. The 20th-century archives described by the contemporary language and describing the heritage through images using such media as photography and drawing played a decisive role in restoring gardens. Third, the protection management of Suzhou gardens, which began in the 1950s, was carried out in detail, including the reconstruction of components such as buildings, the restoration of plant materials and horticulture technique, the creation of a list through the records of trees, the maintenance of props such as plaque, furniture, and the project to improve water quality and restore waterscape. The last, after the World Heritage inscribing, Garden's protection management was proceeded in two directions. One is that through the reorganization of the administrative management system and the enactment of laws related to Suzhou classical Gardens, the listing heritage is strictly protected and managed, and the other is that the historical gardens are used to establish urban masterplan and urban identity in Suzhou. The range of garden properties greatly expanded by distinguishing the principle of conservation from protection to rational use and the grade of protection, such as whole protection, maintenance protection and protection of historical sites.

• Proceedings of the Korean Institute of Landscape Architecture Conference
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• 2007.10b
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• pp.8-14
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• 2007

The Beijing Olympic Forest Park lies at the north end of the 2008 Olympic Plan, "Axis to Nature," and terminates the Olympic axis with a model ecosystem and scenic vistas. The park is a combination of urban green lung, ecological buffer, traditional Chinese park, Olympic park, native forest, and urban retreat. Chinese traditional park concepts, modern landscape architecture, and ecological techniques are merged into one project for the 29th Olympic Games and the citizens of Beijing.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.2
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• pp.36-48
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• 2015

This study aims to contemplated the enjoying culture of Gyeonghwasejok's garden in late Joseon dynasty. It was track down the behavior from cultural perspective by using recorded in literature. The results were as follows. First, Gyeonghwasejok was the main principal of the garden at Hanyang in Joseon Dynasty. There are established residence in the downtown and make a garden. Garden organizer recognized to fine conditions of residences even crowded downtown. As a result people tried to include habitation and garden culture for preserve their cultural benefit. Secondly, Seongsisanrim culture has appeared of common in site selection of garden for occupies the scenic beauty. Garden was surrounded by scenic beauty. Garden organizer was formed archival culture for owning the beautiful landscape through creation of guguk(九曲), designation of space and lettering on rocks. Thirdly, Formation of the collection culture was placed of various ornaments inside garden. A behaviour of landscape view and ornaments appreciation led to the archival culture such as Won-rim-gi(園林記) and essay(小品文). Moreover, hold a friendship meeting for sharing garden culture. Fourthly, Attention of flowering plants was extended to development of gardening hobby such as fashion of pot-planting, planted to exotic tree. It was know that the plants are recognized as favorite elements by target of appreciation according to introduction of plants inside garden. In addition, facility of horticulture and kitchen garden were placed inside garden. Fifth, Influx of chinese garden culture influenced construction of garden space in late Joseon dynasty. Garden organizer recognizes garden as a ideal space by garden aesthetics that Hojungcheonji(壺中天地). And the imitation of Chinese garden culture such as collecting of Chinese's ornaments has become a high-level culture.

• 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.33 no.3
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• pp.58-65
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• 2015

Compared to pavement of Chinese palace gardens, those of private gardens in south part of the Yangtze River(長江) in China shows variety of patterns. In order to figure out what causes the difference in paving pattern, this article focuses on the traditional Chinese ideologies during the all time. An analysis on 'Classical Gardens of Suzhou', which has been designated as UNESCO World Heritage, was used to determine how ideologies have influence on paving pattern of Classical Gardens. As a result, various Chinese ideologies such as Nature worship, Totemism, Confucianism, Taoism, Buddhism, and Folk Culture were found in paving patterns of the private gardens. Pattern of sun in the Retreat & Reflection Garden(Toisawon) is an example of Nature worship among primitive beliefs of ancient China. Phoenix pattern of the Couple's Retreat Garden(Ouyuan, Liuyuan) reflects Totemistic beliefs. Confucianism is the underlying philosophy of Eight Square pattern, Six Square pattern, and Cross Square pattern. These patterns were mainly used to pave large area and easily found in many gardens. Patterns reflect Taoism are "Wufu holding life" pattern(the Five blessing holding life, 五福捧壽), Flat peach pattern, and Alluding Eight Immortals pattern. Paving patterns related to Buddhism are patterns of 'Eight treasures' and Endless knot pattern appears most frequently since it expresses concept of reincarnation well. Paving patterns shows folk culture and beliefs of the time in China are bat, butterfly, dragonfly, frog, carp, and coin(ingot).

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.4
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• pp.18-27
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• 2018

This study is a basic one analyzing the scenic characteristics that are created in Royal Garden in China while taking into consideration that Royal Garden in China is a fruit compiling all of the Chinese classical gardens. In case of Summer Palace in China, it adopted various kinds of landscape displaying techniques for fulfilling the desires of an Emperor who wanted to appreciate beautiful landscapes all the time. Accordingly, the scenic characteristics can be summarized as follows. First, Summer Garden creates various kinds of garden landscapes through various kinds of landscape creation techniques, such as, Borrowed Landscape, Central One, Background One, Symmetrical One, Axial One, Dividing One, Framed One, Window One and Complementing One, etc. Second, it was created in order for visitors to focus on appreciation of landscapes by allocating hard points while considering the symmetric structure, Structure of Long Corridor and Visual Physiology of a building on the basis of the South-North Pivotal Line. Third, it utilized the scenic spot transferring technique that introduces the landscapes of scenic spots in various regions of China to Summer Palace to be matched to the unique geological characteristics of Summer Garden. It was found that Summer Palace adopted the common landscaping techniques in Jiangnan Region of Ancient China since the landscape of Jichang Garden in Hangzhou and that of Shan Tang Jie in Suzhou are reproduced and transferred. It was found that 3 methods mentioned above have the effects that attract sightseers' eyes naturally and make their interests concentrated as well as reviving the feeling of space in a garden and creating abundant scenic beauty.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.35 no.4
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• pp.75-87
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• 2017

This study is the research about Okcheonjeong(玉泉亭) located in the backyard of Namhansanseong(南漢山城)'s temporary palace(行宮). Okcheonjeong was not only built by a government inside Namhansanseong but it was also representative garden which is shown the culture of the nobility. It became famous garden ruins recently because it has remained many carved stones. However, there has been no study about Okcheonjeong yet. We studied Okcheonjeong to establish basic knowledge by literature analysis and field investigation. We tried to discover garden style by deciphering carved stones, and estimate Okcheonjeong's location by documentary research. Sim, Sang-Gyu became Gwangjuyusu(廣州留守) in 1816, and he built Okcheonjeong on the backyard of Namhansanseong's temporary palace in 1817. It was located in the foot of a mountain beside a stream. It consisted of Pungaepok(楓靄瀑: waterfall), Chusudam(秋水潭: a little pond), and Okcheon(玉泉: a stone wall). The stone for sign stands in front of the entrance of Pungaepok to show Okcheonjeong, and there is Yeongyeondae(泠然臺) above the waterfall. We thought that Okcheonjeong was typical Imcheon-garden(林泉庭苑). Okcheonjeong is located in the foot of a mountain following Gamigyeong(歌薇逕) 60 meters so it was able to see the whole temporary palace from the Okcheonjeong. It was the garden pavilion of temporary palace, but it was used in semi public garden(半公的庭苑). Okcheonjeong is the only graden ruins which was located in Namhansanseong, so we have to preserve as cultural heritage. We expect to make use of primary datas to restore Namhansanseong soundly which was world heritage.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.4
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• pp.1-21
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• 2013

This study has researched the characteristics and elements of the chuibyong, a sort of trellis in the Joseon Dynasty through the old pictorial data. The results were as follows; First, as a result of the analysis for the 25 pictorial data in the Joseon Dynasty, the chuibyongs have usually functioned as screening the facility to protect the private life and dividing the spaces of the site, but it was internally regarded as the props which symbolized the dignity and elegance of high class. Especially, not only the faunas such as crane and deer, and the floras such as Pinus densiflora, Musa basjoo, bamboo species and Paulownia coreana, but also various garden elements including oddly shaped stone, pond and pavilion were shown in the surrounding area of the chuibyong, and they were considered as a series of combination that was needed in the ideal garden for the literati. Secondly, the chuibyong was recognized as the ideological object which was typical of the literati culture in the story derived from an ancient event of China. Such image has been reflected intactly in the garden culture, and the chuibyong has been used(considered) as the important scenery of the season to imitate and reenact the Chinese Classical Garden in the narrative painting. Thirdly, in terms of the shape and function, the chuibyong in the paintings in the Joseon Dynasty basically had the function of the shielding and spatial division. Fourthly, the height of the chuibyung was similar to the one of fence which exceeds the person's height or Youngbyek(影壁) which is installed in the front and the rear of the main gate in China, and the various shape's chuibyung was properly set up in many spaces. Lastly, the making of the chuibyong in Joseon Dynasty was related to the trend of the writer's culture which was popular nationally in Ming dynasty rather than the particular functions or the location conditions. Especially, the symbol expression of the chuibyong showed on 'Elegant Gathering in the Western Garden' which was brought from China was recreated in the mansion of the upper class in Hanyang city as the center, and the primary mode for the expression of the wealth and writer's spirit through the chuibyong was transformed into the high-quality's garden element which could be created in the royal palace or the mansion of the upper class. Also, the use of the chuibyung was changed by spreading into the residential style for common people after the mid-nineteenth century, and it means that the chuibyung was developed into Korean styles.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.35 no.4
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• pp.98-109
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• 2017

The results of this study attempting to graft to the space by cognizing and categorizing the characteristic of the under-toned private property to the tablets of the Zhuozhengyuan are as follows. The tablet of Zhuozhengyuan was typed into three groups. In the A group, the frequency of artificial elements including the top, ship, and head was high, and the main emphasis was on the elegance and integrity spirit that the Sunbi(classical scholar) had to have. It has a characteristic of good architects such as pavilion and Nu(樓) is included and as it is adjacent to the water surface the one side of the building is integrated to the water surface. The B group is characterized mainly by the fact that the scenery is portrayed through the climatic factors including rain, wind, and snow, or the scene atmosphere and it is located at the top of the summit which is good for viewing the scenery. In the C group, plant elements such as lotus, magnolia, plum, and bamboo appeared frequently, and various buildings such as pavilion, Kwan(館), Gak(閣) and Dang(堂) belong to this structure. The structure has the characteristic of integrating directly with the water surface or putting the terrace between and scattering throughout the whole garden. Furthermore, this study identified area characteristics based on the frequency of the tablet type. In the west area, Group A is mostly distributed and the humor and concept implied in the tablet, combined with the shape and location of the scenery, viewpoint of the viewer, and the composition of the landscape, improved the orderliness of the space, which led to expand the scope of the enjoyment to the entire space. Meanwhile, in the middle area, tablets of Group C are mostly distributed, and the unique characteristics and shapes of the woody plants that were used as the name of the tablet were connected with various buildings including pavilion, Dang, Kuan, and Gak, improving the unique identity of the space and forming connection with the world of ideas through unity and independence.