• Journal of the Architectural Institute of Korea Planning & Design
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• v.35 no.10
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• pp.103-114
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• 2019

This study analyzed the specific items and contents of district unit plan for responding to commercial gentrification on the west side of Gyeongbokgung Palace, Ikseon and Ttukseom surrounding area. By analyzing the major regulatory items and ranges currently used in the 'district unit plan' for responding to gentrification, it was intended to draw up the limitations of the district unit plan of the study target and the significant issues to be considered when establishing a district unit plan for future respond to gentrification. In the district unit plan around Seochon, Ikseon and Ttukseom surrounding area, location restrictions are imposed on franchises for responding to gentrification in common, and in the case of Ikseon and Ttukseom surrounding area, the maximum development scale is especially smaller than that of the surrounding areas. Also, in the Ttukseom surrounding area, incentives are given to the use of certain exterior materials to preserve regional characteristics.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.39 no.4
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• pp.85-98
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• 2021

In accordance with planning to construct culture park on Songhyeon-dong (district) near Gyeongbokgung Palace, This study analyzed literature and drawings from the early Joseon Dynasty to today for the district, known as 'Songhyeon (pine hill)' to identify historical and cultural landscapes during essential times. The following are the results; First, the owners of significant lots were identified, and land use and landscape components were extracted for a diachronic examination of the landscape of the whole area of Songhyeon-dong. Songhyeon district had been regarded as the 'Inner Blue Dragon (Spot) of Gyeongbokgung Palace' in terms of geomancy since the foundation of Joseon in 1392 in that the government created and managed a 'pine forest' in the district. A state warehouse called 'bungam' was constructed, and small fruit stores, 'ujeon,' opened due to the complete reformation and urban planning led by King Taejong in 1410. From the 19th century, mansions of the upper class, such as 'Gaseonggak', 'Changnyeongwuigung' and 'Byeoksugeosajeong' were in the district. A prominent official residential complex called 'Sigeun Sataek' was constructed in 1919 after Chosen Siksan Bank purchased the site. Later, it was transferred to America in 1948 and used as the 'US Embassy Staff Quarters'. Second, the changes in the site view, associated with the aspects of society by the times, were examined by estimating the location and the time the landscape components lasted in each period extracted and identifying the physical entity. The pine forest, regarded as the 'Inner Blue Dragon' that guards the left side of the palace within the geomantic world view, was located in the highlands in the west of the site. In the same period, the flat area in the east was regarded as the 'commoner's district', the streets adjacent to various government facilities and the market, packed with people from different walks of life. From the 19th century, the gardens of the aristocrats of the capital city were created in the pine forest, turning the place into the forest in the middle of the city. The whole area of Songhyeon-dong, which existed as a large lot in the city center for a long time, was developed by Japanese imperialists in the 20th century based on the concept of 'Ideal Healthy Land,' which interrupted the placeness of Songhyeon-dong that had adhered to the traditional geomatic view of the Joseon Dynasty.

• Journal of architectural history
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• v.24 no.6
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• pp.45-55
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• 2015

After the Korean war, two major attempts were made to reconstruct Gwanghwamun Gate as an important part of Korea's lost cultural heritage. In December 2006, the Korean government replaced the concrete gate with a wooden one, yet traces of the attempts made in the 1960s to transform Gwanghwamun Gate and the main road remain to this day. At the time, the Third Republic of Korea, sought to legitimize itself in the name of modernity, and went on to modernize the architecture and urban landscape of Seoul. The location and design selected for the rebuilt Gwanghwamun illustrated the symbolic relationship between historic heritage and urban development. The reconstruction of the gate began as part of the Third Republic's project to restore the Central Administration Building and culminated in the transformation of the main road in front of the gate. By reconstructing the traditional gate using concrete, the military government intended to convey the message that we could inherit our proud tradition using modern materials, and that we should actively adopt the new technologies of the modern era. This study begins with the premise that the Gwanghwamun reconstruction project of 1968 represents the application of new technological thinking to Korea's architectural style, and has two objectives. The first is to summarize the reconstruction process and method using the records and drawings from the 1968 project, which was then under the leadership of architect Kang Bong-jin. The second is to analyze the characteristics of the architectural style and structure of the reconstructed Gwanghwamun so as to reinterpret the relationship between Korean tradition and modern technology.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.40 no.1
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• pp.26-42
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• 2022

The purpose of this study is to examine and understand the area and the original outer boundaries of Hamchunwon(含春苑), which was the outer royal garden of Gyeonghuigung Palace, which existed before the site of the Russian legation. The results of the study are as follows. First, examining the 3 types of drawings prepared for securing the Russian legation's site and constructing a new building, it was confirmed that two low peaks, which appear to be the original terrain of Hamchunwon, existed in the north and south directions inside the site. According to the initial plan of the of the legation's site, it appears that the entrance of the legation building is connected to the Saemunan-ro in the northwest. However, according to the report made at the time when the Russian temporary minister Veber purchased the legation's site, it was recorded that the site already had a narrow entrance and a dirt road in place, and hence, it was connected to Saemunan-ro. This fact makes it possible to learn that the line of movement for officials and the original gate were located to the northwest of the site planned as the entrance of the legation building towards Hamchunwon. Second, the site was created by cutting the top of the high hill at the time of the construction of the legation building, and as a result, a two tiered staircase typed terrace was built. The ground on which the main building and the secretary's building, etc., were erected was made by cutting the highest peak and solidifying it flat, and a large quantity of soil was used for grading. In the case of the northern area of the main building, the traces of leveling the terrain by cutting the mountains are apparent, and an observation typed garden with a walking path and pavilion was formed by utilizing the physical environment equipped with an easy view. This may be considered as a use which is consistent with the topographical conditions of creating an outer royal garden to block the civilian views on a high terrain overlooking the palace. Third, Hamchunwon's fences were partially exposed in the photos from the 1880s through the 1890s, which demonstrate the spatial changes made around the US, UK, and the Russian legations. As a result of the photo analysis performed, Hamchunwon occupies the northern area of the Russian legation's site, and it is estimated that the north, west, and east walls of the legation resembled those of Hamchunwon. The area to the south of the Russian legation was originally a place made available for civilian houses, and it was possible to examine the circumstances of purchasing dozens of civilian houses and farmlands according to various materials. Fourth, Hamchunwon, which was formed as the outer royal garden of Gyeongdeokgung Palace of Lord Gwanghaegun, lost its sense of place as an outer royal garden when the entire building of Gyeonghuigung Palace was torn down and used as a construction members during the reconstruction of Gyeongbokgung Palace, and faded away as the site was sold to Russia around 1885. The area where Hamchunwon used to be located transformed into a core space of the Russian legation where the main building and garden were located after the construction of the new building. Hence, Hamchunwon, which was limited to the northern area of the Russian legation, does not carry the temporal and spatial context with Gyeongungung Palace and Seonwonjeon which were constructed after 1897, and it is determined that the view of Seonwonjeon as Baehoorim or Baegyeongrim is not valid.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.4
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• pp.98-110
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• 2011

Seochon('West Village') is located in the west side of Gyeongbokgung(Gyeongbok Royal Palace) inside the old city wall of Seoul. Seochon has beautiful scenic view surrounding Mt. Inwang and has been known as the representative historical and cultural landscape region in Korea that historical and cultural resources are rich. But when the figure of Seochon which has repeated the changes with the ones of the times is considered, values of beauty of natural landscape that Seochon had and its own placeness have not been gradually recognized as it has been swept away in logic of the development on the strength of economics. This study tries to examine the original form of landscape on Seochon which can be the standard of landscape change, the causes and process of its change and possibility to conserve and restore it to recognize potential value about historical culture of Seochon landscape and conserve and protect it. For this, this study compared and analyzed literature including poems and Yusangi, paintings and names of the scenery of the seasons as the landscape texts with the current status. The study result has found that Pilwundae should rehabilitate cultural assets to secure the prospect right and protect neighboring bedrock, Suseong-dong should expand the restoration areas focusing on the projects to make parks which are now being restored, Cheonghwigak and Cheongpunggye areas should restore waterways including historicity which is connected to figures and Seshimdae and Baekun-dong green zone should set the protective area for conservation.

• Journal of Conservation Science
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• v.37 no.5
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• pp.491-504
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• 2021

Gwanghwamun Gate of Gyeongbokgung Palace was dismantled and relocated during the Japanese colonial period, destroyed during the Korean War, reconstructed with reinforced concrete in 1968, and finally erected at its present location in 2010. A pair of Haechi statues located in front of Gwanghwamun was dismantled and relocated several times, and the statues have yet to be returned precisely to their original positions. This study assesses the historical accuracy of their current placement under the Gwanghwamun Square Restructuring Project of the Seoul Metropolitan Government and the Cultural Heritage Administration based on archival photos from the early 1900s, and proposes a method to estimate the original positions of the Haechi through image analysis of contemporary photographs and recent digital camera photos. We estimated the original position of the Haechi before the Japanese colonial period by identifying the shooting location of the archival photo and reproducing contemporary photographs by calculating the angle and distance to the Haechi from the shooting location. The leftmost and rightmost Haechi were originally located about 9.6 m to the east and 7.4 m to the north and about 1.9 m to the west and 8.0 m to the north, respectively, of their current location indicators. As the first attempt to determine the original location of a building and its accessories using archival photos, this study launches a new scientific methodology for the restoration of cultural properties.

• 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.