• Journal of the Korean Institute of Landscape Architecture
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• v.41 no.6
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• pp.1-19
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• 2013

This study tries to review 'Sakuteiki(作庭記)', the Book of Garden Making, compiled at the end of the 11th Century during the Heian Period of Japan, from the East-Asian perspective. 'Sakuteiki' is a Garden Theory Book, the oldest in the world as well as in Asia, and it contains the traditional knowledge of Japanese ancient garden culture, which originated from the continent(Korea and China). Traditional knowledge related to East-Asian garden culture reviewed in this paper is "Fungsu Theory"(風水, Asian traditional ecology: Fengshui in Chinese; Fusui in Japanese), stemmed from the culture to seek sound and blessed places to live in. Viewed from modern landscape architecture, the Fungsu Theory corresponds to ecology(science). The Fungsu Theory was established around the Han Dynasty of China together with the Yinyangwuxing(陰陽五行) Theory and widely used for making human residences including gardens. It was transmitted to Japan via Korea as well as through direct transaction between Japan and China. This study reinterprets garden design principles represented in Sakuteiki, which were selected in 5 key words according to the Fungsu Theory. The 5 key words for the Fungsu Theory are "the place in harmony of four guardian gods(四神相應地)", "planting trees in the four cardinal directions", "flow of Chi(氣)", "curved line and asymmetry", and "mountain is the king, water is the people". Garden design principles of "the place in harmony of four guardian gods(四神相應地)" and "planting trees in the four cardinal directions" are corresponding to "Myeongdang-ron(明堂論, Theory of propitious site)". The place in harmony of four guardian gods mentioned in Sakuteiki is a landform surrounded by the flow of water to the east, the great path to the west, the pond to the south, and the hill to the north. And the Theory originated from Zhaijing(宅經, Classic of dwelling Sites) of China. According to this principle, the city was planned and as a miniature model, the residence of the aristocrat during the Heian period was made. At the residence the location of the garden surrounded by the four gods(the flow of water, the great path, the pond, and the hill) is the Myeongdang(明堂, the propitious site: Mingtang in Chinese; Meido in Japanese). Sakuteiki explains how to substitute for the four gods by planting trees in the four cardinal directions when they were not given by nature. This way of planting originated from Zhaijing(宅經) and also goes back to Qiminyaoshu (齊民要術), compiled in the 6th Century of China. In this way of planting, the number of trees suggested in Sakuteiki is related to Hetu(河圖) and Luoshu(洛書), which are iconography of Yi(易), the philosophy of change, in ancient China. Such way of planting corresponds to that of Yongdoseo(龍圖墅, the villa based on the principle of Hetu) presented in Sanrimgyeongje (山林經濟), an encyclopedia on agriculture and living in the 17th Century of Korea. And garden design principles of "the flow of Chi(氣)", "curved line and asymmetry" is connected to "Saenggi Theory(生氣論, Theory of vitality)". Sakuteiki explains the right flow of Chi(氣) through the proper flow and the reverse flow of the garden stream and also suggests the curved line of the garden stream, asymmetric arrangement of bridges and stones in the garden, and indented shape of pond edges, which are ways of accumulating Chi(氣) and therefore lead to "Saenggi Theory" of the Fungsu Theory. The last design principle, "mountain is the king, water is the people", is related to "Hyeongguk Theory(形局論, Theory of form)" of the Fungsu Theory. Sakuteiki explains the meaning of garden through a metaphor, which views mountain as king, water as the people, and stones as king's retainers. It compares the situation in which the king governs the people with the help of his retainers to the ecological phenomena in which mountain(earth) controls water with the help of stones. This principle befits "Hyeongguk Theory(形局論, Theory of form)" of the Fungsu Theory which explains landform on the analogy of social systems, people, animals and things. As above, major garden design principles represented in Sakuteiki can be interpreted in the context of the Fungsu Theory, the traditional knowledge system in East Asia. Therefore, we can find the significance of Sakuteiki in that the wisdom of ancient garden culture in East-Asia was integrated in it, although it described the knowhow of a specific garden style in a specific period of Japan.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.4
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• pp.37-49
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• 2014

This paper aims to interpret the transformation process of town plan of Gosan-up(高山), which was provincial administrative focus town in Josun dynasty, basing on morphological viewpoint. Morphological concepts, such as morphological frame, urban plan, kernel, colonization, route system, fixation line, fringe belt, plan unit & plan division, morphological period derived from the study of Conzen, M.R.G. and Caniggia, G. epidome district, break point, broken plot, urban fallow, privatization are adopted for the interpretation of urban form. Morphological period of Gosan can be divided in four ; formation of kernel & morphological structure, disintegration & redevelopment of the kernel, augmentative development of the kernel & formation of modern epidome district, outwards expanding of urbanized area, transition & reorganization of epidome district. Especially public leading projects such as construction of new regional connection road and public facilities such as myeon(township) office, agricultural cooperatives federation office, market, are main factors of morphological transformation of townplan. In the early stage, under the Japanese imperialism, construction of the new matrix route(Gosan-ro) through the kernel and followed planned routes gave way to disintegrating traditional areal plan unit and forming small block plan units in administrative facilities area. And linear plan units with commercial buildings were formed along the new matrix route and planned route adjacent to periodical market. In the latter stage, with development of public facilities, private sectors' large circulation institution and terminal outside the kernel with planned routes formed areal block based plan units with commercial and public buildings. And part of the spatial area with the linear plan unit were turned into urban fallow. With the transformation of town plan, new roads outside the kernel have substituted for traditional fixation line of waterway with road and topographical feature. Fringe belts were made successively along the new road and around the major intersections outside of existing urbanized area. Land use in fringe belts, constituting of outer locational tendency early on formation, was gradually replaced with commercial & business buildings.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.35 no.1
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• pp.48-56
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• 2017

The purpose of this study is to analyze the 'identity' found in constructional characteristics of Geumgok Hongneung, the first imperial tomb of Korean empire. In terms of "sameness", which states for internal self-cognition among ambivalent situations while consisting identity, Hongneung inherited the prosperity of the Chosun dynasty, possessed 'sustainability' related to Cheongryangri Hongneung of Empress Myeongseong, as well as revealed various 'identitification' of situations in order to expose self-esteem as emperor and imperial nations. On the other hand, in terms of "individuality" as an external self-cognition, the opposite phase of sameness, Hongneung is a mixture of the will of Emperor Gojong and Japanese intervention hence formed 5th styles of royal tombs through 'peculiarity' which distinguishes it from the original tradition. In addition, the value of Hongneung is that it actually reflects the confusing and difficult times of the old ages, and it also involves 'excellence' as the place of the according a state funeral of Emperor Gojong and provoking March First Independence Movement. Thus, Geumgok Hongneung is a recorded landscape that clearly reflects the times of royal tombs of the Chosun dynasty, the world cultural heritage, and also the historic landscape showing extraordinary landscape of unique characteristics, 'Hwangjereung'.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.4
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• pp.28-38
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• 2018

The purpose of this study is to clarify what is the unique garden making methods of Enshu Kobori by surveying and analyzing that existing garden of Enshu Kobori is different from the existing Japanese garden that had been built up to such a period. Enshu Kobori breaks away from the conventional frame that was established with the gardens of existing Karesansui style(枯山水樣式) with the materials of rocks and sands. Enshu Kobori is produced to make harmony with the rocks by trimming the Rhododendron indicum and this type of making method of Enshu was originated from the aesthetic principle of kireisabi. Due to this type of cause, the garden of Enshu Kobori displays splendid and yet a simple beauty of gardening. With respect to the establishment of a garden unique to Enshu Kobori as such, it seemed to have the cultural background expanded with the cultural perception and official family class of the edo period where it strived for new things. Therefore, Enshu Kobori was designed as the ornament-oriented garden rather than the garden that requires direct ceremonial act. The subject sites for this study are Raikyuji, Daichiji, Shodenji, Nanzenji Hojo and Konchiin as intended by Enshu Kobori. Contents of the study contemplate the location of garden, factors to introduce the garden, structure of garden, background of garden, use of stones, plants and scenic views to clarify the uniqueness of the Enshu Kobori garden.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.29 no.3
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• pp.1-11
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• 2011

Located in Namwon-si, Jeonlla Bukdo, Gwanghallu Garden is created around Gwanghallu, which was a government office in the period of Joseon Dynasty and shows its looks as a government office building of the times. However, Gwanghallu Garden is recognized rather as a background site of Chunhyangjeon, representing a local culture, than the features and picture as a government office garden in the period of Joseon Dynasty because Gwanghallu appeared as the background of Chunhyangjeon in its Chinese character script and, after 1930s, Chunhyang Sadang was built up and Chunhyang Festival held, and it's recognized rather as a site for arousing national consciousness and cherishing Chunhyang for its integrity in the Japanese ruling era of Korea than as a government office building in the period of Joseon Dynasty. With it being more recognized as the background of Chunhyangjeon than an ancient government office building, Gwanghallu has been managed as a private house garden or event place of folk festival as the background of Chunhyangjeon than preserved and managed as ancient government office building, and now the looks and features as a garden of government office are hardly seen because of indiscriminate trees and making of structure and spaces. Therefore, to preserve and maintain Gwanghallu Garden as the garden of government office in the period of Joseon Dynasty, it's required to survey the trees, structure and spaces created in Gwanghallu Garden and compare the true condition with its original looks by studying its literature and it's suggested that the garden area created around Gwanghallu should be repaired and managed by separation from as the background of Chunhyangjeon. Such means of management may keep the looks of Gwanghallu as the ancient office garden while Chunhyangjeon can also settle down as a local culture in the background.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.1
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• pp.10-21
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• 2014

This study focuses on the landscape of Daegodae(大孤臺), a prominent rock placed at the side of Namgae Stream in Hamyang, and the person who enjoy the landscape. Through the analysis of the letters such as names carved on the rocks based on ancient poetry and stone walls, the study examines the characteristics of the landscape and the space of Daegodae and the phase of hegemony to enjoy the landscape and space. The result of this study is as follow.2) There are 5 Seowon(書院: lecture halls) nearby Daegodae identified in the ancient map has 5 auditoriums nearby, and three-dimensional volume and eccentricity of the Daegodae is impressive. Daegodae, named by Noh Jin(1518~1578) in 16th century, was used in a variety of ways, including viewing, game, recreation, and meeting, by the staff of the lecture halls including Namgae Seowon(南溪書院), as a result of analyzing the ancient document Go-dae-il-Loc(孤臺日錄) written by Jung Kyung-Woon(鄭慶雲: 1556~?). The structure of Daegodae is that there is Chunggeunchung(淸近亭) on the rock face of the top and Sanangjae(山仰齋) to the west around the memorial stone for Yang Hee(梁喜: 1515~1581). The upper part of the foundation of Daegodae with 11m high and $10m^2$ wide to the east and west was widely used for lecturing and poetry reading. To the north and west of the foundation were the writing of Kim Jeong-Hee(金正喜: 1786~1856) with the words 'Seoksong Chusa(石松 秋史)' carved on the rock and the remains of a dead tree that is presumed to have been called as 'Seoksong'. They are the landscapes that further enhance the history and authenticity of this place. The two kinds of letters carved on the rock 'Daegodae Gaeeunseo(大高臺 介隱書)' and 'Mukheon JungGeunSang(鄭近相: 1893~1934)' were recorded each by Jung Jae-Gi(1811~1879) and his grandson Jung Geun-Sang, which are, as the outcome of exclusive space possession and space hegemony, the signatures indicating that they were the persons who enjoyed this place during the late Joseon and Japanese colonial era. In other words, Daegodae had some implied meaning of preoccupancy of the place as Gujolyangseonsengjangguso since the middle of Joseon, and the place was passed down as a buddhism lecturing and memorial venue called "Dungbukganghoiso Cheonryungjaeseonhyunjangguso" after going through the space hegemony of Jung Jae-Gi and Jung Geun-Sang during the late Joseon and Japanese colonial era each, Nevertheless, a number of letters carved on the rock identified also imply that 'Hadong Jung(河東鄭氏)' and 'Pungcheon Noh(豊川盧氏)' were those who enjoyed the landscape of Daegodae and the center of the space hegemony. The "letters carved on the rock of Daegudae" is another case of cultural landscape and traditional gardening space that serves as the representation of the will of enjoying the landscape in this place and the history of space hegemony.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.3
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• pp.1-15
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• 2015

Based on the analysis and interpretation of the headwords and poetic words of a group of eleven collecting sceneries of Jeonju, the origin and transformations of the Jeonju-Palkyung(Eight sceneries of Jeonju) investigated by a time-series analysis are as follows. As there is no collection of landscape with a formal structure similar to that of the current Jeonju-Palkyung, prior to the Palkyung by Chujae(秋齋) Cho Soo-Sam(趙秀三, 1762~1849), there is no significant problem in assuming the eight poems in Chujaejib(秋齋集) are the origins of the Jeonju-Palkyung, and it is estimated to have been produced in 1829. In the late-19th century poem 'Wansanseunggyeong(完山勝景)', 'the Palkyung in Yeollyeo Chunhyang Sujeolga', and 'the Palkyung delivered by poet Shin Seokjeong in the Japanese colonial era', only the 'Dongpogwibeom(東浦歸帆)' changed from Dongjipo to Dongchon of Bongdong as for 'Landscape Setting There($L_{ST}$)' according to changes in district administration; despite this change, the fact that they are not too different from the Palkyung of Cho Soo-Sam, also supports this. Moreover, according to the headword concordance analysis, it is proven that the Jeonju-Palkyung was established in the late-19th century and continued to be the region's representative sceneries even during the Japanese colonial era, and later 'Namcheonpyomo(南川漂母)' and 'Gonjimangwol(坤止望月)' were added to expand to the Jeonju-Sipkyung(ten sceneries of Jeonju). But when we see there are famous spots that are the origins of the Jeonju-Sipkyung, including Gyeonggijeon, Geonjisan, Jogyeongdan, Omokdae, and Girinbong, Deokjinyeon, and Mangyeongdae, all of which have great representational significance as the capital of Jeolla Provincial Office as well as of the place of origin for Joseon Dynasty in the grouping of sceneries during the early Joseon Dynasty, including "Paehyangsipyeong (沛鄕十詠)", "Gyeondosipyeong (甄都十詠)", and "Binilheonsipyeong(賓日軒十詠)", the beginnings of the semantic Jeonju-Palkyung should be considered up to the first half of Joseon Dynasty. During this period, not only the fine sceneries with high retrospective merit as the capital of Hubaekje, like Gyeonhwondo(甄萱都), but also the sceneries like Mangyeongdae that reminds people of Jeong Mongju(鄭夢周) and Yi Seonggye(李成桂) in the late period of Goryeo appeared, elevating the status of Jeonju as the capital of Hubaekje and shortening the historical gaps as the place of origin of the Joseon Dynasty. The Jeonju-Palkyung is an organic item that carries the history of the Joseon Dynasty after Hubaekje and has gone through many cycles of disappearing and reappearing, but it has continued to change and transform as the region's representative sceneries. The Jeonju-Palkyung is a cultural genealogy that helps one understand the 'Jeonju Hanpunggyeong(韓風景: the sceneries of Korea in Jeonju)', and the efforts to preserve and pass it down to the next generation would be the responsibility of the people of Jeonju.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.30 no.2
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• pp.1-13
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• 2012

This study aimed at learning the values and meanings of the letters carved on the rocks all over Mt. Sangdu located at the boundary between Kimje-si and Jeongeup-si of Jeollabuk-do by grasping the current state of them, investigating the patterns and contents of them, and understanding the spatial and landscape properties of the region where the rocks are scattered. The results of this study are as follows; The name of Mt. Sangdu came from the mountain with the same name located in India where Buddha were seeking the truth, and means auspicious. With the recognition of ancient maps and books, various propitious spots also made the landscape symbols of Mt. Sangdu solidify. Whoam, Chaangsuk-Kim, Weolgye Young-Cho Song and the members of Cheonggye Society like Dongcho Seok-Gon Kim led the creation of the rocks, and the 41 letter-carved rocks all over four water systems were found out and all of them were carved with Chinese characters. The letters were usually carved on flat and broad rocks, and they mainly had the shape of a small waterfall and a wide waterfall of under 1 meter height. 25(60.9%) of the carved letters were about moral training, and it seemed that they wanted to protect their pride under the shackle of the Japanese colonization over Korea. The styles of handwriting are Hangseo and Jeonseo except for names, and show various and complex styles. The mix composition of the carved letters of 'Yusubulbu(流水不腐)' of Choseo and the rocks of Takjok(濯足) is extraordinary, and the letters carved as the shape of Nakkwan(落款) have artistic value and degree of finishing. It seemed that intellectuals during the Japanese colonization over Korea in the 1930s considered Mt. Sangduasa highly valuable region because they expressed their hope and wish for the new world on the rocks. The letters on the rocks of Mt. Sangdu are invaluable cultural landscaping elements for the improvement of landscaping symbolism of Mt. Sangdu because of colliding values and spirits of the time of 'the anguish and pain of intellectuals' and 'the status of living joyfully outside of the mundane world.'

• Journal of the Korean Home Economics Association
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• v.44 no.5 s.219
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• pp.35-48
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• 2006

The purpose of the study is to examine how housing consciousness has been changed through various discourse on ideal housing from opening ports to the present. Reviews of literature including newspapers, magazines, novels, advertising materials, research papers, books, and so on are mainly utilized in accomplishing the purpose. This study covers four periods such as the enlightenment era, the Japanese colonial nile, before and after the Korean war, and after the economic development to present. During the enlightenment period in which foreign culture and housing were introduced, with reconsideration on traditional housing basic physiological housing value including health and hygiene was appeared. The desires of Munhwa housing with western styles and housing improvement were emphasized due to the new cultural improvement during the Japanese colonial rule. Before and after the Korean war which was chaotic times with rehabilitation, the provision of a large amount of public housing with minimum conditions for the basic human needs was the most important. After 1960s, due to the housing policy focusing on the mass-provision of apartments and the discourse on apartment as an ideal housing for the ordinary households in Korea, apartment dwellings become structure type norms in Korea.

• Journal of the Korean Institute of Landscape Architecture
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• v.36 no.6
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• pp.91-101
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• 2009

In this study, the landscape of Insa-dong was interpreted from the viewpoint of a social construction of landscape, which regards the dynamic process of landscape change as more important than landscape visibility. This viewpoint also regards landscape as the result of its interaction with certain actors. From a review of previous studies on the same subject, it was found that the physical environment, institutions, and images are essential factors influencing landscape change. Insa-dong, which was Kwanindaing and Daesadong during the Joseon Dynasty, acquired symbolic meaning as a traditional area during the Japanese colonial period because of its many antique shops and Korean-style buildings. In 1970, the establishment of modern galleries in the district added to its image as a haven of the traditional Korean culture. Insa-dong thus eventually came to be referred to as "the street of traditional culture" by the people of Korea. Thanks to global festivals like the Asian Games, the Olympics, and the World Cup, Insa-dong's reputation as a cultural tourist destination has become stronger as these festivals created a need for a place in Korea where the country's traditional culture can be showcased to foreign tourists. After the mid-1990s, the merchants of Insa-dong began to cash in on the district's image as a showcase of traditional Korean culture due to the economic depression that emerged then. The people of Insa-dong and those outside it, however, came to feel that this trend damaged the district's image. Therefore, the people of Insa-dong and the district's local government started a movement to restore the aesthetic value and symbolic meaning of the district's landscape. This effort induced institutional change. Insa-dong used to be a natural haven of traditional Korean culture. Its landscape has recently been reconstructed so that this image could be restored. This process was made possible by the active interaction of diverse people: merchants, users, administrators, and NGOs.