• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.4
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• pp.99-111
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• 2015

The objectives of this study were to investigate the location, shape, environment, and vegetation of the Village Forest in Gyeonggi-do and to evaluate the ecological integration and changes of the Village Forests to figure out the measures for conservation and management. There were 23 Village Forests remain in Gyeonggi-do. Ten Village Forests were established based on Feng-shui background. Many of them were found in Yongin area and southeast of Icheon. The Village Forests were owned by local community at 9 village and privately owned at 8 villages. Most Village Forests were managed by local communities except for the two managed by private person. Fifty-two percent of the Village Forests were in strip shape, and most of them were established by Feng-shui background or for the prevention of disasters. The average size of the Village Forests was relatively small at 3,046m2. The most frequent tree species found at the Village Forest were Zelkova serrata and Pinus densiflora. Over half of the number of Village Forests showed vertical structure of overstory trees only or overstory-sub overstory combination, which seemed to be resulted from the loss of understory plants by the activities of local residents. The Village Forests that had over 30% of damaged trees were found at 7 villages. The damages were caused by the road construction close to the groves, soil compaction, and tree death by covering lower stem with soil. The vitality of the damaged trees seemed to be significantly low compared to that of the undamaged. There were factors that determined the changes in the Village Forests: community ritual, institutional protection, designation as a water resource protection district, road construction, land use change, windstorm hazards, and development of forest areas. In order to conserve and manage the Village Forests appropriately, it is necessary to limit excessive use of the grove areas and maintain proper tree growing conditions by improving the soil environment. The development of neighborhood areas need to be controlled and community activities should be encouraged to maintain or restore the original landscape of the groves. Protection measures and supporting policies need to be enforced to keep the Village Forests from disappearing in near future.

• Journal of the Korean Institute of Landscape Architecture
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• v.48 no.5
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• pp.1-15
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• 2020

This study was designed to come up with a way of managing a cultural landscape forest by conducting research on the vegetation structure and growth characteristics. This study's target site, which was 45,201㎡ in size, was Pinus densiflora forest for Sugumagi placed at the entrance of Unmun Temple, Sinwon-ri, Unmun-myeon, and Cheongdo-gun in the southernmost part of Gyeongsangbuk-do, Korea. Sugumagi means the water of the valley flows far away, and where no downstream is visible according to feng shui. The historical sources of the Sugumagi Pinus densiflora forest at the entrance of Unmun Temple isn't clear. It waw only found at that location. The Pinus densiflora forest at the entrance of Unmun Temple is located in the waterway in terms of Feng Shui. The present condition of growth was investigated through a grid surveys of 98 trees and Pinus densiflora growth. As a result of the analysis of growth status, Pinus densiflora, Larix leptolepis, Zelkova serrata, Celtis sinensis, and Rhus javanica were distributed in the conopy layer, and 28 species including Ailanthus altissima were grown in the understroy layer, and 92 species, including Ampelopsis brevipedunculata, in the shrub layer. The plant community structure was divided into low, medium and high-density Pinus densiflora forests in the study area, based on the number in the conopy layer and the grade of and the trees analyzed. As a result of the analysis, the Pinus densiflora dominated the low, medium and high-density Pinus densiflora forests, and there were no competitive species. The relative dominance of the low-density Pinus densiflora forests was 46.9% on average, medium-density was 62.6% and 50.2% was found in high-density. The mean species diversity of Shannon in the low-density study was 0.7055, medium-density study was 0.8966 and the average species diversity of Shannon in the high-density study was 0.8317. The analysis of the age and growth of 25 sample trees in the Sugumagi Pinus densiflora forest shows that the distribution of the chest diameter (DBH) of the sample Pinus densiflora is 38 to 77cm with the average chest diameter being 61.1cm. The age was 84-161 years and the average was 114 years. In the Pinus densiflora forest, most(670,659, or 98.3%) of the tree trunk wound was collected for rosins during the Japanese colonia Era, Of the total 670, 659 were Pinus densiflora, 98.3% of the total. 394 were surgically repaired in 2005. For the preservation of the Sugumagi Pinus densiflora forest, dead trees should be replaced with substitute trees appropriate to the middle and south topography. It is demanded that foreign species such as Larix leptolepis in the research area should be removed and Pinus densiflora that underwent surgical operations should be regularly sterilized. It is also emphasized that the management of insecticide is important.

• Korean Journal of Heritage: History & Science
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• v.49 no.2
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• pp.86-103
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• 2016

'Sukchunjeahdo' illustration-book, which was left by Han, Pil-gyo(韓弼敎 : 1807~1878)in the late Joseon Dynasty, includes pictorial record paintings containing government offices, Eupchi, and Feng Shui condition drawn by Gyehwa(界畵) method Sabangjeondomyobeop(四方顚倒描法) and is the rare historical material that help to understand spatial structure and landscape characteristics. Youngyuhyun(永柔縣) and Sincheongun(信川郡) town, the case sites of this study, show Feng Shui foundation structure and placement rules of government offices in the Joseon Period are applied such as 3Dan 1Myo(三壇一廟 : Sajikdan, Yeodan, Seonghwangdan, Hyanggyo), 3Mun 3Jo(三門三朝 : Oeah, Dongheon, Naeah) and Jeonjohuchim(前朝後寢) etc. by setting the upper and lower hierarchy of the north south central axis. The circulation system is the pattern that roads are segmented around the marketplace of the entrance of the town and the structure is that heading to the north along the internal way leads to the government office and going out to the main street leads to the major city. Baesanimsu(背山臨水 : Mountain in backward and water in front) foundation, back hill pine forest, intentionally created low mountains and town forest etc. showed landscape aesthetics well suited for the environmental comfort condition such as microclimate control, natural disaster prevention, psychological stability reflecting color constancy principle etc. and tower pavilions were built throughout the scenic spot, reflecting life philosophy and thoughts of contemporaries such as physical and mental discipline, satisfied at the reality of poverty, returning to nature etc. For government office landscape, shielding and buffer planting, landscape planting etc. were considered around Gaeksa(客舍), Dongheon(東軒), Naeah(內衙) backyard and deciduous tree s and flowering trees were cultivated as main species and in case of Gaeksa, tiled pavilions and pavilions topped with poke weed in tetragonal pond were introduced to Dongheon and Naeah and separate pavilions were built for the purpose of physical and mental discipline and military training such as archery. Back hill pine tree forest formed back landscape and zelkova, pear trees, willow trees, old pine trees, lotus, flowering trees etc. were cultivated as gardening trees and Feng-Shui forest with willow trees as its main species was created for landscape and practical purposes. On the other hand, various cultural landscape elements etc. were introduced such as pavilions, pond serving as fire protection water(square and circle), stone pagoda and stone Buddha, fountains and wells, monument houses, flagpoles etc. In case of Sincheongun town forest(邑藪), Manhagwan(挽河觀), Moonmujeong(文武井), Sangjangdae(上場岱) and Hajangdae(下場岱) Market place, Josanshup<(造山藪 : Dongseojanglim(東西長林)>, Namcheon(南川) etc. were combined and community cultural park with the nature of modern urban park was operated. In this context, government office landscape shows the garden management aspect where square pond and pavilions, flowering trees are harmonized around side pavilion and backyard. Also, environmental design technique not biased to aesthetics and ideological moral philosophy and comprehensively considering functionality (shielding and fire prevention, microclimate control, etc.) and environmental soundness etc. is working.

• Journal of architectural history
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• v.10 no.4 s.28
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• pp.7-21
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• 2001

This study is to analyze site layout traditional government office building focused on Chonui-hyon(全義縣) in Chungchong province with Chungchong-do regional maps(忠淸道地方地圖) and Eupjis(邑誌, topography) being compiled in the late Chosun dynasty. The conclusion of analysis can be summarized as follows; 1. Chonui-hyon(全義縣) in Chosun dynasty is gone with a planning principle of the capital city(Han-Seong, 漢城) with disposing Sa-Ji-Dan(社稷壇) and Gaek-Sa(客舍), which are placed to the left and right of Eupchi(邑治), and it is followed in the wake of the spatial structure of Chosun dynasty palace with disposing Dong-Heon(東軒) in front, Nae-A(內衙) at the back of it, or from side to side, also by the Dong-Heon of the center, with organizing each facility around it. 2. Dong-Heon and Gaek-Sa of Chonui-hyon is passed through three step gate, Mun-Ru(門樓), Woi-Sammun(外三門), Nae-Sammun(內三門), from Hong-Salmon(紅門), and are shown hierarchy by haying been placed at the end of approach axis. 3. Dong-Heon can be disposed by Feng-Shui(風水) which have influence on the southeast direction with Jin-San(鎭山) and An-Dae(案對), on the other hand, Gaek-Sa can be disposed by symbolic of the authority of a king. 4. Site layout by function of provincial government office is provided into four ferrite, Dong-Heon, Gaek-Sa, Nae-A, practical business territory, and eve territory is organized by official institution on a social position to radiation, by the compositive axis to be made Woi-Sammun Nae-Sammun Dong-Heon Nae-A 5. Approach process of Chnui-hyon government office is three door system similar to Kam-Young(監營) in a different way two door system in most provincial government office, also approach axis is formed by bending.

• Journal of architectural history
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• v.17 no.5
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• pp.23-37
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• 2008

Hyeunryungwon is a tomb for Crown Prince Sado, who was the father of King Jeongjo, the twenty second king of Joseon dynasty. The tomb had been originally in the Eastern part of Seoul, but was relocated in 1789 to the downtown Suwon, which was renowned as a good tomb site among the Royal family at that time. King Jeongjo looked through the records from the previous generations for the ideal location and direction for the tomb. He personally studied Feng Shui theory and designated its location and direction. He ordered for lavish decorations for the stone adornments of the surroundings of the grave mound, which was against the regulations of the royal family. He found his reasons in the precedent that allowed sumptuous decoration. However, for the arrangements of Jeongjagahk(T shaped building) and other attached facilities, he made unusual choice that other precedent royal tombs did not have. Instead of following the conventions that Jeongjagak should be facing south of a grave mound, he put it on the right side of grave mound. Also conventionally, Subokbang(a place where guards can stay) and Suragan(a kitchen that prepares food for sacrificial rites) should be facing symmetrically, but they too, were on the same side with Jeongjagak. It was a measurement that the grave mound of Hyeunryungwon can have a full view without being obstructed by other facilities and it was also personally ordered by King Jeongjo. The distinguishing features of Hyeunryuwon was motivated by King Jeongjo's filial affection, and his academic pursuit of precedent royal tombs initiated the unconventional and innovative challenges.

• Korea Science and Art Forum
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• v.35
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• pp.315-329
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• 2018

This study starts from the points of comparative analysis about cultural differences of old traditional communities. Those communities are Chinese Fujian tulou and Historic Villages of Korea Hahoe and Yangdong. (i..e.Yangdong ) I worked field study on traditional communities in two countries and literiture study. I have analysied on characteristics of Fujian tulou and Yangdong. and compared Fujian tulou's characteristics with traditional characteristics of Yangdong The results of this study are as follows. First, Fujian tulou was built according to the nature, and they have worshipped their anscestor and they are the blood relative community. Second, Yangdong was built according to the nature, too. But Yangdong has been completely reflected the confusianal societies' classes.( ex : yangban and slave ) Yangdong has the characteristics on confusianal community. From the results of this study, I think that further study is needed about non- physical cultural factors which were served to maintain the traditional community like governance, self doctrine and community rules.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.4
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• pp.27-39
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• 2011

The study on Musan twelve peaks of Yongho garden in Jinju, Gyeongnam was anticipated to provide data and implication for reproducing similar spaces and modern changes in terms of design factor since it is the prototype of traditional mount for overcoming monotonous geographical features and intriguing changes and interests. The study analyzed and interpreted the symbolism of twelve peaks, principles of space composition and function and effect of visual construction that were pursued by the builder in terms of landscape view, which results are as following. The center of Yongho garden, Yonghoji(龍虎池) is a typical man-made pond for a supportive feng shui feature. It is a supporting equipment to complete the state of feng shui, and the result of strengthening the completion through the connection with the dragon-related name of the place. The shape of Musan twelve peaks looks like an oval form of Geumseongsan(金星山), 2~3.5m in height and 6~12m in diameter. Peaks are estimated as 1.5~3.7m(2.4m in average) in height, $35{\sim}138m^2$($73.4m^2$ in average) in area, and $30.7{\sim}115.0m^3$($62.5m^3$ in average) in volume. Given that Yonghojeong(龍虎亭), Soseon(小船), the site of main building and Yongsanjae(龍山齋) stand in line, Yonghoji was presumed as the state of enlightenment through ascribing the meaning to virtue and secularity. For the intention of realizing Musan twelve peaks, the builder probably had mounted twelve peaks forming the body of dragons with crossing the point corresponding to a head of tiger, and located Musan twelve peaks and Yonghojeong with a representation of dragons holding Cintamani rising into the sky in the center. The middle area near Musan twelve peaks surrounded by peaks like Geumseongsan running north and south shows a multi-structure of multilayer, maintaining the similarity centering on Yonghoji. It is considered the intention of mount planned at the time of Musan twelve peaks construction, caused by similar form harmony. Internalization of progressive realization through concealment and exposure, enframement effect and spatial order like prospect-refuge theory in the mount of Musan twelve peaks is considered the reflection of the intention to increase depth of the view and expectancy through the various degree of exposure and surroundings of each peak and the colorful combination of viewing and shutting. The "closed view" by Musan twelve peaks creates interesting, vivid and attractive recognition of the view, which is more effective in bringing depth of the view and interests in terms of the geographical design, particularly the area around Yonghoji. Moreover, it was identified that the combination of peaks can be formed resulted from the view configuration concerning the location through multilayer effect reveals an island through the other one when viewed from Yonghojeong.

• Korean Journal of Heritage: History & Science
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• v.56 no.2
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• pp.172-203
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• 2023

<Cheongdamdo>(true-view landscape painting) was identified in this study to be a folding screen painting painted by Jeong Seon(a.k.a. Gyeomjae, 1676~1759) in the 32nd year of King Yeongjo(1756) while exploring the Cheongdam area located in Mt. Bukhansan near Seoul. Cheongdam Byeol-eop(Korean villa), consisting of Waunru Pavilion and Nongwolru Pavilion, was a cultural and artistic base at that time, where Nakron(Confucian political party) education took place and the Baegak Poetry Society met. <Cheongdamdo> is a painting that recalls a period of autumn rainfall in 1756 when Jeong Seon arrived in the Cheongdam valley with his disciple Kim Hee-sung(a.k.a. Bulyeomjae, 1723~1769) and met Hong Sang-han(1701~1769). It focuses on the valley flowing from Insubong peak to the village entrance. The title has a dual meaning, emphasizing "Cheongdam", a landscape feature that originated from the name of the area, while also referring to the whole scenery of the Cheongdam area. The technique of drastically brushing down(刷擦) wet pimajoon(hanging linen), the expression of soft horizontal points(米點), and the use of fine brush strokes reveal Jeong Seon's mature age. In particular, considering the contrast between the rock peak and the earthy mountain and symmetry of the numbers, the attempt to harmonize yin and yang sees it regarded as a unique Jingyeong painting(眞境術) that Jeong Seon, who was proficient in 『The Book of Changes』, presented at the final stage of his excursion. 「Cheongdamdongbugi」(Personal Anthology) of Eo Yu-bong(1673~1744) was referenced when Jeong Seon sought to understand and express the true scenery of Cheongdam and the physical properties of the main landscape features in the villa garden. The characteristics of this garden, which Jeong Seon clearly differentiated from the field, suppressed the view of water with transformed and exaggerated rocks(水口막이), elaborately creating a rain forest to cover the villa(裨補林), and adding new elements to help other landscape objects function. In addition, two trees were tilted to effectively close the garden like a gate, and an artificial mountain belt(造山帶), the boundary between the outer garden and the inner garden, was built solidly like a long fence connecting an interior azure dragon(內靑龍) and interior white tiger(內白虎). This is the Bibo-Yeomseung painting(裨補厭勝術) that Jeong Seon used to turn the poor location of the Cheongdam Byeol-eop into an auspicious site(明堂). It is interpreted as being devised to be a pungsu(feng shui) trick, and considered an iconographic embodiment of ideal traditional landscape architecture that was difficult to achieve in reality but which was possible through painting.

• Journal of the Korean Institute of Landscape Architecture
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• v.40 no.2
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• pp.49-63
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• 2012

The popular landscape paintings in Jaseon Dynasty had become the prototypes of the paradise of people and played the essential role in making the typical types of garden in those times. The representative types of the paintings include , , and etc. They made ways to produce the typical types of Joseon landscape gardens such as 'Dowon Type Gardens', 'Gugok Type Gardens', 'Prospect Type Gardens' and 'Gilji Type Gardens' etc. The types of garden above showed their landscape characteristics corresponding with the types of painting respectively. The 'Dowon Type Gardens' mostly located at the mountain valley showed enclosed landscape suited for refuge it corresponds with the composition of . The 'Gugok Type Gardens' mostly located at the long and winding valley composed of sequential sceneries with open and enclosed views corresponding with the composition of . The 'Prospect Type Gardens' located mostly m the hilly sites holds open views contrasting with the earlier types, and activated with the influence of . The 'Gilji Type Gardens' influenced by extended their territory beyond the main garden and made the vicinity areas, including the whole village, a paradise in respect with feng shui. Most of the garden types in Joseon Dynasty have alternated the bipolar characteristics of Prospect and Refuge in time and area respectively.

• 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).