• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.28 no.1
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• pp.38-48
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• 2010

The Gwanghalu garden which has a pond of approximately $6,000m^2$ around the pavilion at Namwon City, used as official uses consists of the various imaginary environmental elements such as moon palace as an immortal world, miniatured cosmology and law of nature. This study has focused on the interpretation of the imaginary environmental elements at 1) the name of garden structures, 2) the paintings on the structures, 3) the poems on the garden, and then emphasized on the values of imaginary environments at the historic sites which have been abandoned because of the Westernized scientific attitude in landscape design. Imaginary environment is the 3rd one above the natural and built environment which was a long traditional culture. Accordingly education on landscape architecture might pay attention to this lost environment, imaginary to give the people dream.

• Acta Via Serica
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• v.7 no.2
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• pp.109-132
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• 2022

Two of the main elements of Persian tangible heritage are rugs and gardens, which have evolved together from the dawn of Iranian history. Emerging from the same system of thought and geographical location, together they represent the Persians' world views, desires, dreams, and design paradigms. In this study, the Persian Garden's patterns, elements, typology, and meanings are introduced and compared with the same aspects of Persian rugs. This paper uses a qualitative comparative methodology to analyze rugs' designs and patterns in relation to Persian Gardens' design principles. Data is collected primarily through library study and observation. The author uses two categories for comparison: meanings and forms. First, the author identifies underlying meanings common to the two art forms and then introduces form, function, and general principal patterns into the analysis. There is a type of rug pattern, known as Chahar-Bagh (literally, "four gardens"), that mirrors a garden design, down to the details, which is the focus of this paper. Additionally, other representations of Persian Gardens in rug design, such as Shekargah ("hunting pattern"), are discussed, as are other rug patterns with fewer elements borrowed from garden design. The paper also considers several motifs that represent flora common in gardening on the Iranian plateau, some of which have symbolic meanings dating to the Zoroastrian era. By comparing these two mediums of art (garden and rug) in the context of Persian history and geography, it becomes clear that the Persian rug design, in its roots, is an attempt to bring a garden into interior space. The study shows that the forms, patterns, and meanings reflected in Persian rugs render the study of their designs incomplete without considering the history of gardens.

• Ecology and Resilient Infrastructure
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• v.10 no.4
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• pp.237-249
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• 2023

This study was carried to establish a new landscape-oriented gardening model based on climate, vegetation, and forest landscape characteristics. In addition, innovative forest garden models were suggested through an integrated approach to the ecological characteristics of forest vegetation communities and existing garden planting types. For the study, the key landscape elements that make up the main forest vegetation community were identified. And the vertical layers and horizontal distribution patterns of the community structure were typified by diagnostic species and their growth forms & habits such as dominant species, character species, and differential species, and degree of dominance-sociability. Based on this, a standardized vegetation structure and formation was developed by stratifying the landscape into main features, minor features, and detailed features according to visual dominant elements. Also, the applicability of the forest garden model was examined by applying the concept of borrowing landscape to representative deciduous broadleaf forests in the temperate northern region of Korea. Additionally, an integrated forest garden models based on the conceptual definition and typology of forest gardens, and a strategic approach to forest vegetation were proposed

• Journal of Forest and Environmental Science
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• v.19 no.1
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• pp.39-47
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• 2003

The purpose of this study is to investigate how the three korean traditional gardens in France and Japan were representing the tradition by comparing and reviewing them. The concerns for analysing the korean garden made in foreign counties were focused on issue of a representation. Representing a Korean garden into three foreign parks depends on the manner of a representation. their objects and media. We found the characteristics through analysing the korean gardens that traditional elements such as a traditional pavilion, fence, madang, chosan and hwagye were generally chosen as essential elements for representing the korean tradition.

• Journal of architectural history
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• v.27 no.1
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• pp.29-42
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• 2018

Mugiyeondang(舞沂蓮塘) is the garden that the provincial noble family in Yeongnam(嶺南) has constructed since the late Joseon period. Mugiyeondang is well known as a typical case of traditional garden in Joseon period. But it is also an exceptional case because of its informal layout that infers gradual space transition. This study aims to establish the historical story of the garden beyond the superficial description about existing spatial status and literature materials. Mugiyeondang had been constructed by seven generations of the family during two hundred years, and there were significant events at every transition points. The figure and name of elements reflects each historical change of the family. Mugiyeondang is an important case to notice that a garden was not just a subsidiary space for mere leisure life of the gentry of Joseon period, But it was an important for some families as their representative and symbolic space.

• Journal of the Korean Institute of Landscape Architecture
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• v.46 no.5
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• pp.22-35
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• 2018

The purpose of this study is to understand the idea of the ideal garden, pursued by Dasan, by analyzing the production process of his writing and the location of his dwelling, and the characteristics of the garden in the writings of Dasan (茶山) Jeong Yag-Yong (丁若鏞)'s "Jaehwangsangyuincheop (題黃裳幽人帖)" is concerned with his writings on an imaginary garden (意園). This paper assumed that "Jaehwangsangyuincheop" served as a blueprint for his ideal dwelling. The main research subjects are the external scenes described in the "Jaehwangsangyuincheop", and the garden elements and spatial construction that were visualized as a Korean Ink Painting (水墨畵) through the analysis of related works. The results are as follows. First, Hwang Sang was Dasan's favorite pupil, and "Jaehwangsangyuincheop" was written by Dasan while at Boeunsanbang in the winter of 1805 as an answer to a question that Hwang Sang posed about the residence of a hermit. By referring to this response, Hwang Sang established Ilsoksanbang (一粟山房) under Mt. Cheongae in Daegu-myeon, Gangjin. Secondly, the residence in "Jaehwangsangyuincheop" has mountains behind it and water in front of it (背山臨水). The residence was used as a place to combine life and leisure. It was an ideal residence that secluded the scholar(隱士). Thirdly, Dasan's ideal garden was shown as operation of natural geography in a residential location, practically using various plant materials, expanding physical boundaries of garden, pursuing synesthetic aesthetics while enjoying garden elements, and having an active experience of the taste for the arts in the extended garden. "Jaehwangsangyuincheop" depicted the life of a scholar with the taste of elegance (雅趣), who live in reclusiveness (隱逸), which was wanted by Dasan after exile. It was realized as Ilsoksanbang. "Jaehwangsangyuincheop" was interpreted as the ideal of a feasible dwelling that faithfully reflects Dasan's conceptual thoughts on the garden.

• Proceedings of the Korean Institute of Interior Design Conference
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• 2005.05a
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• pp.212-216
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• 2005

The purpose of this study is to make clear the indoor thermal environmental efficiency of indoor garden in apartment during winter. The questionnaire survey was carried out during the l0th${\sim}$20th of February 2004, respondents consisted of 215 residents living in a subject apartment estate. The field measurements of indoor thermal elements were carried out at A house with indoor garden and at B house without indoor garden. The measurements in two-subject houses were taken on simultaneously the 11th of February. As Results, the residents living in apartments with indoor garden show positive response on air moisture and satisfaction. The daily ranges of indoor temperature and globe temperature in the A house were narrower than the B house. The average relative humidity in the A house was higher and constant than the B house. Therefore, it was seemed that indoor environment during winter in the house with indoor garden maintained more constant or comfortable than the house without indoor garden by earning effect and humidity control effect of plants.

• Journal of People, Plants, and Environment
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• v.24 no.4
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• pp.329-339
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• 2021

Background and objective: This study was conducted to obtain empirical data for deriving necessary items for the creation and management of gardens in urban agricultural parks while maintaining the publicness of the place by examining the difference in perception among park visitors about the gardens in the public parks. Methods: A survey was conducted on users of urban agricultural parks in 6 locations and 113 copies of the questionnaire were collected. After understanding the demographic characteristics and the current use of the garden, we identified the importance of the necessary items for the public gardens. Results: 108 subjects(95.6%) responded that gardens are needed in urban parks, for psychological and emotional health (26.2%) and for interaction and friendship with family and neighbors(23.2%). For use of garden crops, most were private sales(96 subjects, 64.4%), and both sales preferred to partially donate their crops. Most used communal gardens operated by public institutions(30.1%). It was found that 96.4% of the respondents were satisfied with gardening activities, and 107(94.7%) of them showed their intention to participate in the gardening in the future. The Kaiser Meyer Olkin value was .848 and the significance level was .001, proving the validity of factor analysis. The factors were named composition elements(Factor 1), management items(Factor 2), convenience elements(Factor 3), and operational facilities(Factor 4). In the survey on the creation and management of gardens in urban agricultural parks, there were no statistically significant differences, but all items had correlations. Conclusion: The results have reflected the needs of actual users in establishing the plans to operate urban gardens, thereby having great utility value as the basic data for continuous garden management. Further research can be conducted to derive detailed elements that can guarantee sustainability of urban gardens and suggest high-quality data for management of gardens in urban agricultural parks.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.2
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• pp.82-94
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• 2014

This study aims to comprehend that Gwanghalluwon for aspects of landscape change in terms of construction garden(樓園). Transformation focused on the spatial structure is divided into four periods based on literature. And reflect of landscape elements in defunct or unattributable records from tale and novel. The results were as follows. First, The beginning of Gwanghanllu pavilion(廣寒樓) was the composition of the Gwangtongnu Pavilion(廣通樓). The pavilion is located amid beautiful scenery such as the close-range view of a small stream, and distant view Jiri Mountain. Analysis of literature shows that Gwanghallu pavilion was in succession to Gwangtongnu Pavilion's landscape. Secondly, Gwanghallu(廣寒樓) pavilion represents the characteristic of the garden since 1582. Built the Samsinsan(三神山), Construct Lake and bridge that represents the galaxy for realization of utopia reflect in Taoist ideology. Thirdly, Gwanghalluwon garden was recovered when from Jeong-yu-jae-ran(丁酉再亂) to the Japanese Ruling Era. It took Gwanghalluwon garden a long while to recover from original form. According to records, Gwanghalluwon garden is still being likened to the landscape of fairyland by inheriting landscape in the previous of Jeong-yu-jae-ran(丁酉再亂). Fourth, By the modern times, Gwanghalluwon Garden has personality of tourist attractions. Until now, the area of the Gwanghalluwon garden has been expended during the processes of three times. Fifth, Aspect of landscape change of Gwanghalluwon is wide-spreading mainly Gwanghallu pavilion. But elements of external expansion in garden by introduced into the facility irrelevant to the authenticity of the garden. Sixth, Comprehension the cultural landscape of the garden are limited by deficient records. But, the main elements in the Gwanghalluwon garden are commonly appeared on imaginary environment within a tale and a novel. In addition, culture of garden at the time was depicted in tale and novel. In this sense, cultural landscape in garden was able to estimate through imaginary environment within novel.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.41 no.3
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• pp.59-66
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• 2023

This study attempts to examine the process of establishing a Japanese-style garden in the modern period through the perspectives of garden designers, spatial composition, spatial components, and materials used in their works, and to use it as data for embodying the identity of Korean garden. The results are as follows: First, by incorporating elements associated with Koreanness into the modern garden culture, there are differences in location, presence, and subjectivity when compared to Japan. This reflects Japan's relatively seamless cultural continuity compared to Korea's cultural disconnection during the modern period. Second, prior to the modern period, Japan's garden culture spread and continued to develop throughout the country without significant interruptions. However, during the modern period, the Meiji government promoted the policy of 'civilization and enlightenment (Bunmei-kaika, 文明開化)' and introduced advanced European and American civilizations, leading to the popularity of Western-style architectural techniques. Unfortunately, the rapid introduction of Western culture caused the traditional Japanese culture to be overshadowed. In 1879, British architect Josiah Condor guided Japanese architects and introduced atelier and traditional designs of Japanese gardens into the design. The garden style of Ogawa Jihei VII, a garden designer in Kyoto during the Meiji and Taisho periods, was accepted by influential political and business leaders who sought to preserve Japan's traditional culture. And a protection system of garden was established through the preparation of various laws and regulations. Third, as a comprehensive analysis of Japanese modern gardens, the examination of garden designers, Japanese components, materials, elements, and the Japanese-style showed that Yamagata Aritomo, Ogawa Jihei VII, and Mirei Shigemori were representative garden designers who preserved the Japanese-style in their gardens. They introduced features such as the creation of a Daejicheon(大池泉) garden, which involves a large pond on a spacious land, as well as the naturalistic borrowed scenery method and water flow. Key components of Japanese-style gardens include the use of turf, winding garden paths, and the variation of plant species. Fourth, an analysis of the Japanese-style elements in the target sites revealed that the use of flowing water had the highest occurrence at 47.06% among the individual elements of spatial composition. Daejicheon and naturalistic borrowed scenery were also shown. The use of turf and winding paths were at 65.88% and 78.82%, respectively. The alteration of tree species was relatively less common at 28.24% compared to the application of turf or winding paths. Fifth, it is essential to discover more gardens from the modern period and meticulously document the creators or owners of the gardens, the spatial composition, spatial components, and materials used. This information will be invaluable in uncovering the identity of our own gardens. This study was conducted based on the analysis of the process of establishing the Japanese-style during Japan's modern period, utilizing examples of garden designers and gardens. While this study has limitations, such as the absence of in-depth research and more case studies or specific techniques, it sets the stage for future exploration.