• Journal of the Korean Institute of Landscape Architecture
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• v.52 no.4
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• pp.120-136
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• 2024

Yeong-dae(靈臺), Yeong-yu(靈囿), and Yeong-so(靈沼) - so-called 'Yeong-dae Garden' – appear in the poem 'Dae-ah(大雅)․Yeong-dae(靈臺)' in Shijing(詩經) which is considered the record of the earliest garden in East Asia, in the chapter 'Yanghyewang(梁惠王)' of Mencius(孟子). Focusing on those records, this research clarifies their characteristics and discusses the aspects related to garden practices in the Joseon Dynasty. The Yeong-dae Garden is the garden of King Wen of the Zhou Dynasty, who is considered a sage of Confucianism. It is considered to be the first imperial garden in China, and the basic form of all gardens consists of mountains and water. The characteristics of Yeong-dae Garden can be specified through the texts of Shijing and Mencius, the comments written by Zhu Xi and others, and later literature, such as Sambohwangdo. The characteristics of Yeong-dae Garden are as follows: In terms of form, the three spatial elements corresponding to raised ground, a wide area for raising animals, and a pond with fish form a simple arrangement; in terms of function, it combines observation and rest; and in terms of symbolism, it signifies the companionship of the public sentiment and the leader's sincerity. In literature from the Joseon Dynasty, Yeong-dae Garden mainly appear in historical materials related to the King, and its meaning shows an aspect of differentiation into two functions: an observatory for astronomical observation and a garden for rest and appreciation. For the intellectuals of Joseon who sought to restore an ancient ideal state like the Zhou Dynasty through Zhu Xi's Neo-Confucianism, the Yeong-dae Garden served as a control device to warn against royal garden's practices and a symbolic mechanism to expand its meaning of existence to good politics.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.3
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• pp.106-115
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• 2011

This study, based on (edited in 18th century), analysed the landscape system and cultural landscape elements of Yuhoidang(Hageowon 何去園) Garden in Musu-dong, Daejeon, and the findings are as in the following. YuHoidang(Gwon Yijin 權以鎭) managed Hageowon Garden in Musu-dong, located on the southern branch of Mt. Bomun, to realize his utopia. The completion of Hageowon Garden was only possible due to his installation of a variety of facilities in family gravesite on the hill behind his house: Shimyoso(Samgeunjeongsa 三近精舍, in 1707), Naboji(納汚池, in 1713), Banhwanwon(in 1714) and expended exterior space(in 1727). With regard to the landscape system of the village, the main range of mountains consists of Mt. Daedun, Mt. Odae and Mt. Bomun. The main high mountain of the three is Mt. Bomun, where 'Blue Dragon' hill branches off on the east side(Eungbong), 'White Tiger' in the west(Cheongeun and Sajeong) and Ansan(inner mountain) in the south. The landscape system is featured by 'mountains in back and rivers in front'. The river in the south-west, with its source in Mt. Juryun is called as the 'Stream of outer perfect spot', while the 'Stream of inner perfect spot' rises from Eungbong, passing through the east part of the village into the south-western direction. Banhwanwon Garden(盤桓園) was created with the stream in the east and natural bedrocks, and its landscape elements includes Naboji, Hwalsudam, Gosudae, Sumi Waterfall, Dogyeong(path of peach trees), Odeeokdae(platform with persimmon trees), Maeryong(Japanese apricot tree), springs and observatories. An expanded version of Banhwanwon was Hageowon garden, where a series of 'water-trees-stone' including streams, four ponds, five observation platforms, three bamboo forests and Chukgyeongwon(縮景園) of an artificial hill gives the origin forest a scenic atmosphere. When it comes to semantics landscape elements, there are (1) Yuhoidang to cherish the memory of a deceased parents, (2) Naboji for family unification, (3) Gosudae to keep fidelity, (4) Odeokdae to collect virtue and wisdom, (5) Sumi Waterfall to aspire to be a man of noble character, (6) Yocheondae for auspicious life, (7) Sumanheon and Gigungjae to be in pursuit of hermitic life, (8) Hwalsudam for development of family and study, (9) Mongjeong to repay favor of ancestors, (10) Seokgasan, a symbol of secluded life, (11) Hageowon to enjoy guarding graves in retired life. The spatial composition of Hageowon was realized through (1) Yuhoidang's inside gardens(Naboji, Jucheondang, Odeokdae, Dogyeong, Back yard garden and others) (2) Sumanheon(收漫軒) Byeolup or Yuhoidang's back yard gardens (Seokyeonji, Yocheondae, Sumanheon, Baegyeongdae, Amseokwon and others) (3) Chukgyeongwon of the artificial hill(which is also the east garden of Sumanheon, being composed of Hwalsudam, Sumi Waterfall and Gasan or 12 mountaintops) (4) the scenic spots for unifying Confucianism, Buddhism and Taoism are Cemetry garden in the back hill of the village, the temple of Yeogyeongam, Sansinkak(ancestral ritual place of folk religion) and Geoeopjae(family school). On top of that, Chagyeongwon Garden(借景園) commands a panoramic distant view of nature's changing beauty through the seasons.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.38 no.1
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• pp.103-114
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• 2020

This study was conducted on Yuanming New Garden in China, which re-lighted the previously lost or damaged original space through representation from the perspective of creating traditional landscape. We looked at the composition of this place, the comparison of relevant literature and actual representation, and the characteristics of representation techniques. The results are as follows. First, TYuanming New Garden is a representation space with the motif of Yunamingyuan in Beijing. An advisory group of some 400 related experts discussed the prototype. The historicity of the real space was considered in the representation process. Second, New Yuanmingyuan garden was recreated based on the 'The Forty Scenic Views of Yuanmingyuan', and 31 of the scenic spots were created. The buildings in each precinct had a 1:1 scale response with structures that were previously constructed in Yuanmingyuan, Beijing. New Yuanmingyuan garden's way in which the main landscape is laid out around the Fuhai Lake(福海), which the landscape is drawn appeared was the same as Yuanmingyuan in Beijing. However, some of the facilities were reproduced on the basis of the 'The Forty Scenic Views of Yuanmingyuan', so they turned out to be different from what Yuanminyuan in Beijing looks like today. New Changchunyuan garden was represented around water landscape of the Western Mansins(Xiyang Lou, 西洋樓) area and the Haeakgaegum(海岳開襟), and the buildings and the facilities were reconstructed based on the 'Copper Print of Western Mansins'. Third, Yuanming New Garden made a prototype of the 'The Forty Scenic Views of Yuanmingyuan' and 'Copper Print of Western Mansins' during the process of synchronic changes in the garden. In addition, the original space and the ambiguous original space or exhibition space were clearly identified through the plant. On the other hand, due to the reenactment of buildings, the spatial composition and placeability of the original spaces of Yuanmingyuan garden and Changchunyuan garden in Beijing were not inherited, and the introduction of elements that did not match traditional landscaping spaces, and the introduction of garden elements that were not prototype and other variations for the use of tourism were found to be drawback.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.38 no.4
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• pp.101-110
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• 2020

This study was conducted through the analysis of literature and on-site research as a case study of 14 artists' gardens with traditional themes presented at the garden fair. With Focusing on the design process for determining traditional reproduction, the following characteristics and implications were derived by analyzing the design goals, selection of subjects for traditional reenactment, determination of methods for reproduction, and design stages of landscape components. First, the pattern of selecting traditional structures as subjects for reproduction in many artist gardens can be understood as an advantage of being suitable for narrow sites and having remarkable topic communicability. They directly delivered the design intent by adding the names of traditional structures such as Madang, Wool, Buttumak, Jangdokdae, Chuibyeong and Seokgasan. Works expressed indirectly, such as Wall, Korean Garden, Suwon, and Seoul craftsmen, have relatively weak topic communicability. There were also symbolic representations of objects to be reproduced, such as Seonbi, marginal spaces, and Pung-lyu. Second, while reproducing Hanok Madang, separate the gardens paved with grass and stone, the fortress wall of Suwon Hwaseong and the northwest Gongsimdon of the watchtower. Also the garden with a miniature version of the extraneous Yong-yeon and the garden, which was reproduced as a low decorative wall in the rest area based on Nakan-Eupseong Fortress, shows the need for a deep understanding of tradition. On the other hand, the reproducting works of choosing the location of the traditional garden, the Korean Garden showed the importance of systematic arrangement with the surrounding environment, the beauty of the space in the courtyard of Hanok, the beauty of the slowness enjoyed by the scholars and the reenactments of the Pung-lyu culture of Moonlight boating are not only imitating traditional structures but also spreading understanding of tradition to garden culture and sentiment. Third, there were many works that reconstructed the real-size traditional structure in a straightforward way in relation to design. The garden was divided into Chuibyeong and the living space was decorated with Buttumak, chimneys, and gardens, and facilities representing Gyeongbokgung Palace, Soswaewon, and Seoseokji were systemically arranged. However it recognized the importance of selecting the key design elements, constructing the elevation of the structure, and the sense of scale of the space from works that reproduced the large Suwon Hwaseong and Nakan-Eupseong in an abstract way. While there are examples gardens of Hanok yards and Bazawul, which are far from the original image among the gardens that chose the dismantling method, the Blank-space garden expressed only by a frame composed of cubes, and Seonbi's Sarangbang garden, that permeated the moonlight with many traditional structures are the positive examples. The Seoul Artisan Garden, Jikji Simche Garden and Pung-lyu Garden, which display modernly designed landscape components, need an explanation to understand the author's intention.

• Journal of architectural history
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• v.3 no.2 s.6
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• pp.67-90
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• 1994

Soshaewon(瀟灑園) is the historical relic No. 34, and located in the upper part of Kwangju-dam in Damyang. It is a Byulseo-garden(別墅庭園), a retreated garden near residence, that is constructed by Yang San-Bo(梁山甫, 1503-1557) in 1530's. That is to say, Soshaewon is a space of life that is situated near the village called Changam-chon(蒼岩村), and a place to study, lecture and importune among literary men. Therefore, we can see that it is of great significance in the architectural, landscape architectural, and literary aspects. This paper is based on the 'Pictorial Map of Soshaewon(瀟灑園圖, 1775)' and 'Forty- eight Poems(四十八詠)' composed by Kim In-Who(金麟厚) in 1548. The 'Pictorial Map of Soshaewon' which describes a vestige of Soshaewon makes it easy to understand the composition of space, by offering the important clues to the prototype of Soshaewon. Moreover, 'Forty-eight Poems' are very valuable references from which we can consider an ideal and internal meaning of Soshaewon. In this paper, the central objective is to observe the consitituents of architectural space of Soshaewon; architectural, stone-built, water-spacial, landscape architectural, external- garden and behavioral elements. The research on Soshaewon is to be processed gradually in the future, but this paper is limited only to the areas presented in the 'Pictorial Map of Soshaewon' and "Forty-eight Poems."

• Journal of the Korean Institute of Landscape Architecture
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• v.41 no.5
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• pp.57-67
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• 2013

The studies of Korean traditional gardens have been a lot of diachronic approaches through ancient documents and on-site investigation. Previous research has focused on the characteristics that are inherent symbolism of the traditional landscape space, such as site characteristics. There are many studies for inner gardens, outer gardens and other influential ranges of gardens of the location characteristics. However, studies on the scale of external gardens were not satisfactory from a quantitative perspective. Unlike private life sphere, quantitative analysis was conducted on the role of a sphere of public community life for outer gardens. Visibility analysis was performed through the existing literature and GIS programs to estimate the magnitude of the outer garden. When it was compared with Min G. H.(1982) research, it is almost the same if it is estimated to focus on Buyoung -bong(芙蓉峯) and Ip-am(立巖). Also, as a result of the fractal structure for a variety of symbols in the garden, fractal dimension in landscape elements is relatively concentrated, unlike in other areas. Thus, the external scale can be a means of cultural property protection out of the crucial perspective for the inner garden. There has been consideration of the cooperation with the visual complexity using the concept of fractal structure as one of the elements of landscape analysis.

• Journal of the Korean Institute of Landscape Architecture
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• v.29 no.5
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• pp.51-59
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• 2001

This paper presents a design of the Dasan Children\`s Park which is located Shindang- dong, lung-gu, Seoul which has an area of about 3,678$m^2$. Objectives for the design were to make nature-friendly space, learning space, interesting play space, space for every child, adventure play space, traditional play space, sense of place, and recycle space. For the space compositions a children\`s garden, a traditional play space, and a science play space were located around the S shaped main route. Facilities relating nature, science, culture. environment and adventure play were arranged in the 3 main spaces. The Children\`s Garden is a green space for learning and playing with natural elements. It is composed of a ecological learning space, a children\`s story garden, a children\`s song road, an environmental labyrinth, and a pall space leer handicap children. The Science Play Place is a place space for learning scientific theories through plays to which scientific theories were applied. It is composed of a total play structure, a math experience playground, a \"Keojunggi\" play space, a sound reflecting experience space, arid an infant playground. The Traditional Play Madang(space) is a space for traditional plays. It is composed of a traditional play pattern, a sun dial, and a floor fountain. The Recycle Road is a dragon shaped road fort learning about resource recycling and conservation. It is composed of a dragon head, body, tail space and a dragon bead(cint mani).int mani).

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.1
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• pp.28-37
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• 2011

In this study, the series-poem, Bihaedangsasippalyoung(48 poems for beautiful scene of Bihaedang), written by scholars of Jiphyonjeon for Bihaedang garden of Anpyung-Daegun(Prince Anpyung, 1416-1453), was analyzed focusing on scenery lexeme to interpret the meaning of scenery and gardening culture of Sadaebu(noblemen) during the first term of Chosun Dynasty. The study result is as followings. First, the subtitle of Sasippalyoung(48 poems) written by Anpyung-Daegun while he grew Bihaedang garden on the foot of Inwang Mountain showed repetitive nomativity comparing joining of yin and yang, such as life and form of animal and plan, time and space, meaning and symbolism, etc. Among scenery lexemes, 38 are represented plant and flowers, and 8 are represented gardening ornaments and animals. Second, the names of gardens were expressed as Wonrim, Jongje, Imchon(Trees and Ponds), or Hwawon(Flower garden), or also presented as Gongjeong(Empty garden), Manwon(Full garden), Jungjeong(Middle garden), Huwon(Backyard), Wonrak(Inner court), or Byulwon(Seperated garden) depending on density and location. In addition, there were pavilions and ponds, stepping stones and stairs, a pergola, a flat bench, flowerpots, an artificial hill, oddly shaped stones, wells, aviary, flower beds, or hedges. A gardener was called Sahwa(flower keeper), planting and gardening of garden trees were called Jaebae(cultivation), a pond island was called Boogoo(floating hill), and miniature landscapes were called Chukjee(reduced land). Third, willows were planted on the outdoor yard, and plum trees were planted in front of the library, which led to bamboo woods road. Peony, camellia, tree peony and crepe myrtle were planted on the inner court with mossy rocks, small artificial hills, glass rocks, flower pots. There were rectangular ponds, while breeding deer, dove, rooster, and cranes. Fourth, landscape elements were enjoyed as metaphysical symbolic landscape by anthropomorphism, such as (1) gentlemen and loyalty, (2) wealth and prosperity, (3) Taoist hermit and poetical life, (4) reclusion and seclusion, (5) filial piety, virtue, introspection, etc. In other words, the garden presented a variety of gardening culture appreciating meaningful landscape, such as investigation of things, reclusion and seclusion, and building orientation of a fairyland yearning eternal youth and Mureungdowon(Taoist Arcadia) by making a garden blending beautiful flowers and trees, with precious birds and animals. Fifth, there were many landscape appreciation schemes, such as Angkyung(looking-up), Bukyung(looking-down), Jeokyung(looking-under), Chakyung(bringing outer space into inside), Yookyung(flower viewing), Yojeong(walking around the garden enjoying flowers), Hwasaekhyangbyuk(flower gardening), and Garden appreciation enjoying landscape through time and seasons with different inspirations.

• Journal of the Korean Institute of Landscape Architecture
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• v.34 no.6 s.119
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• pp.54-65
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• 2007

There is little research on the exterior spaces or gardens of single detached urban dwellings in Korea because apartments are the general housing type of most inhabitants. However there is an increasing demand for idyllic houses in the urban fringe and for environmentally friendly dwellings or healthy houses that is represented in urban residents gardening activities. The purpose of this research is to analyze residents' preferences and problems in gardening and management of single detached urban dwellings, and to evaluate the possibility of gardens as biotopes. It also addresses the issue of providing public amenities in the urban landscape. One hundred thirty-six dwellings were selected in residential areas of the city of Gwangju. The layout and plant composition, residents' evaluation and understanding of their own gardens, and maintenance and management were investigated. The results indicated that residents associate gardening with mental health and recognized a lack of space as one environmental restriction. Watering was seen as a primary difficulty for maintaining gardens. This research suggests that providing space for gardening could be a tool for participatory community making. When considering the important aspects of gardening, residents responded that gardens offer naturalness, scenic beauty, and practicality and also felt that gardens provide a buffer from environmental pollution and relief from mental duress. Results from the factor analysis using 15 semantic differential variables showed that 'spatial openness', 'natural variety' and 'familiarity' were representative factors. Although a garden is mainly considered as a space for the appreciation of nature with plant material, our results suggest that meaning and environmental symbolism are important elements.

• Journal of the Korean Institute of Landscape Architecture
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• v.51 no.6
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• pp.75-87
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• 2023

This study presents an experimental design for demonstrating the role of nature-based solutions to climate change in the landscape and garden sector. The study suggests spatial strategies for a carbon-neutral society and its role as a cultural industry. This paper describes the use of a low-maintenance garden as part of a strategy for carbon reduction with the goal of protecting the environment and forming a carbon-neutral society. To this end, this study involved the design and construction of a realistic model garden to provide scientific data on the functions, spatial elements, and carbon neutrality of carbon-reducing gardens. The target site is located in the Sejong National Arboretum. The test area in which the carbon-reducing function is measured is located in the centre of the site, and other spaces include dry gardens, community gardens, and flower gardens intended for exhibition and relaxation. The experimental area is divided into several smaller areas within which the carbon-reducing effect is analysed according to the amount of biochar installed, the planting density, and the plant species present. The application of facilities and construction methods to promote carbon reduction were based on the method known as '10 types of carbon gardening for the earth'. In the model garden, we employed rainwater utilization facilities and used low-carbon certified wood and local materials. The carbon reduction effect of each facility and construction method is compared and presented here. The results are expected to serve as an important basis for realizing a carbon-neutral society and can be used as a reference in various fields that require sustainable development, such as the garden industry.