• Journal of the Korean Home Economics Association
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• v.37 no.5
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• pp.101-110
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• 1999

Sarang is a man's living space or quarter for the heir and his eldest son who would succeed and a hosting place for male vistor. The purpose of this study is to extract the Sarang space terminology described in the 17 Korean novels and find its meaning by comprehending whole paragraph. The major findings were summerized as follows; 1. Among the Sarang space terminology, Sarang meant either 'Sarangchae' or 'Sarangbang'. Its exact meaning could be understood by comprehending whole paragraph. 2. Regarding to the size of Sarang space terminology, there were two kinds. One was clearly quantified terminology such as 'two kans Sarangbang' and 'One and half kans Sarang'. The other was vaguely quantified teminology such as 'large Sarang' and 'small Sarang'. 3. Regarding to the location of Sarang space terminology, 'upper Sarang and lower Sarang'. 'inner Sarang and outer Sarang', 'fore Sarang and back Sarang' were found to be used. 4. Regarding to the user of Sarang space terminology, it was for male mainly. However since 1930, some of female were also described as a user in the Korean novels.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.13 no.12
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• pp.6135-6142
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• 2012

This study is conducted to understand the different characteristic of the inner and outer spacing of Sarangche Numaru according to their geographical location conditions during its construction in 15-16th century. The results showed; first, for hill-type, the side of the Numaru that is in contact with the Sarang Madang makes a short side of Sarangche Numaru regardless of the Orientation and for flatland-type, the side of the Numaru in contact with the Sarang Madang makes a long side of Sarangche Numaru. Secondly, for hill-type, Sarang Madang is not focused as the main view, instead it supports the view of the mountains that are around however, for flatland-type, Sarang Madang is focused as the main view therefore, an inner garden is formed inside Sarang Madang. Lastly, for hill-type, Cho Shan is used as an appropriative landscape while for flatland-type, Sarang Madang is used as the main view and an inner garden is formed because of the diversification of Sarang Madang's function.

• Journal of People, Plants, and Environment
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• v.23 no.1
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• pp.101-114
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• 2020

This study focused on the composition of the exterior space of Parkjinsagoga, the types of gardens and planting and the landscape characteristics of walls, and examined its meaning as modern garden remains. Parkjinsagoga is a modern Korean house that harmonizes traditionality and practicality, and is an invaluable material for research not only on architecture but also on changes in the gardens of upper-class gardens. Its exterior space can be divided largely into An-chae (inner house), Outer Sarang-chae (outer house) and Inner Sarang-chae areas, and a garden was created in each yard (inner garden). In particular, one thing noticeable is that the yard of Inner Sarang-chae, unlike traditional gardening styles, was actively decorated. At the center of the yard of Inner Sarang-chae, two atypical planters and artificial moundings were created and the traffic line of the garden was designed to enjoy them while walking. An atypical pond was created on one of the artificial moundings and trees and shrubs were densely planted. Natural stones were also placed. The style seemed to be affected by Japanese gardens. These characteristics observed in the gardens of Parkjinsagoga are closely related to the transitional characteristics that traditional gardens started to show in modern times. A total of 35 families and 57 species were planted in the gardens of Parkjinsagoga and there were 19 species of tall trees, 20 species of shrubs and 17 species of flowering plants. The number of species planted in the garden of Inner Sarang-chae was the highest, and a total of 22 species of tall trees and shrubs. The walls in Parkjinsagoga were basically earth and rock-fill walls but their materials and patterns differed depending on the type of spaces. Four types of walls were found to be introduced to the house.

• Journal of architectural history
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• v.32 no.5
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• pp.69-80
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• 2023

Before the 15th century, the main buildings of the residences of the ruling class in Seoul consisted of Momchae(身梗), Seocheong(西廳), and Naeru(內樓)‧Chimru(寢樓). Based on the equality of the relationship between husband and wife, the couple lived in the main building[Momchae] in the center of the mansion, but based on the individuality of the relationship between husband and wife, each had an area consisting of the same section within the building. Naeru·Chimru was the two floors bedroom building became a common living space for the minister and wife, upstairs in summer, downstairs in winter. In preparation for large gatherings and important receptions, an open-structured West Hall(西廳) was located on the west side of the mansion. Momchae, Seocheong, and Naeru‧Chimru were the common building types and layouts of the residences of the highest ruling class, including high-ranking officials, until the reign of King Sejong. However, from around the time of King Seongjong, Seocheong and Chimru came to be regarded as privileged and luxurious buildings only allowed for the grand prince's residence. The layout of the bedroom, main building (including Wings), Outer Sarang[外舍廊], and Joyangru[朝陽樓] of Prince Bongrim's mansion built in the first half of the 17th century clearly shows the transitional period when the arrangement of chimru, main building, and western office was disrupted and the layout changed to the Inner main building(Anchae for wife) and Outer main building(Sarangchae for husband).

• Journal of the Korean housing association
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• v.10 no.4
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• pp.121-135
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• 1999

Korean Traditional Houses had been composed of several territory. Sarang-Chae was territorialized from the functional differentiation and the sexual discrimination of Confucianism. The territory of ancestral shrine was formed with the filial duty of Confucianism. Korean Traditional Houses have the visible, material boundary and invisible, symbolic boundary which is repeated into the inner space. Korean Traditional Houses are appreciated as the enclosed territory which the sacred inner space of the house is in opposition with the profane outer space, and the inner space of the house has hierarchical boundary by the hierarchy of the house god.

• Journal of architectural history
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• v.16 no.1
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• pp.49-68
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• 2007

The purpose of this study is analysis of traditional noble houses style of Ha-Dong area in Kyeong-Nam. The sequence of this study is at first finding the list of survey object, and investigating of those houses, after than drawing the site and floor plan, and lately analysis the characters of inner and outer space of them. It required six months. The results of analysis of them are as follows. 1. The noble traditional houses in Ha-Dong are found eight samples which are not noticed in academic society. 2. The constructions of noble housing in late Period of Cho-sun Dynasty are divided in three parts as a general role. Its grade is similar in Ha-Dong. The number of traditional noble house of (old) volunteer class is two cases. The (new) rich-farmer class is four cases. And there are two cases of (long) authority class. 3. The type of site plan is based on Korean south area style which is the style of departed rectangular type. But outdoor spaces are divided in several space by many fence than other area. It is the special item of construction. 4. The special character of indoor space is the use of 'Gong-ru'. It is called similar space used in top of main entrance building of large building. But it is located in various space in Ha-dong. It is included in any space of Sarang-Che, An-Che, Are-Che. The traditional noble houses of Ha-Dong area have special spacial characters. For long time there space was developed based on local identity. And its characters was divided various classes. Thus Ha-Dong area is definite place of useful identified traditional culture.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.3
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• pp.46-57
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• 2014

This study contemplated the gardening culture from the pictures, which the scholars of late Joseon Dynasty, the aspects of garden landscapes and garden use behaviors are drawn as follows. 1. The yard by the detached house for men and guest in front of the premises(Sarang Madang) and backyard were the major places for Ahoi(social gatherings of the scholars). The mansions had interests in the management of the outer garden beyond the house wall with building structures like the pavilions on the high walls and side gates. This management and the selection of location anticipating in advance of the management are noteworthy. 2. Only house gardens had plant pots with flowers and the small flower bed(Hwa-O) at Sarang Madang occasionally had plant pots without flowers and oddly shaped stone pots and equipped pine branch eaves and traditional awnings made of plant material like a trellis. 3. The oddly shaped stones were significant landscape elements in the gardens of houses and villas. Some of them were depicted as the Taihu stone and this draws attention to the question of whether the Taihu stone was actually used in the garden of late Joseon Dynasty. 4. The gardens in villas accommodated the borrowed scenery with various materials like wooden fences, bamboo or reed fences, mud walls. They also had the artificial gardens with some odd shaped stones, old pines, bamboos, Japanese apricots, willows, paulownia trees, lotuses and plantains in the secured Madangs. 5. Gyeong Hwa Sa Jog(The scholars of the ruling class adapted to the 18th century's new historical aspect) of late Joseon Dynasty built the villas at the beautiful scenery closed to the their houses. 6. The Gardens around pavilions were located high closed to the mountain streams with nature like beautiful forests, oddly formed rocks, precipitous cliffs and viewing stones. The back side of the pavilion was enclosed by bamboo forests and the front had pines, ginkgoes and willows as shade trees. 7. The beautiful scenery which was preferred as the place for Ahoi was basically with fantastic peaks and precipitous cliffs which forms the distant view harmonized with a waterfall. Broad and flat rocks at the summit of a mountain which commands a bird's-eye view or on a mountain streamside with pine forest, willows and plum trees were chosen as the optimal places for Ahoi. 8. Pine trees were presumed to be more preferable than other species in the garden, especially an single planted old pine tree accented symbolism. 9. Portable tea braziers for boiling tea were adopted in all four types of the gardens. 10. The gardens mixed with auspicious landscape elements were the places of the arts for an unworldliness Ahoi through GeumGiSeoHwa(enjoying strings, go, writing and painting) and boiling tea.