• Korean Journal of Heritage: History & Science
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• v.47 no.3
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• pp.108-127
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• 2014

Gangwha was a capital city of Goryeo, in spite of short-term occupation, where various national facilities such as palace stood in a row. Nevertheless, its historic importance has been undervalued owing to undiscovered palace. According to ${\ll}Goryeosa{\gg}$, palace in Gangwha was built in imitation of that of Gaegyeong. If it is true, the site of the old palace in Gaeseong as an original could give significant information for that of Gangwha. The distinct feature of Gaegyeong is that the palace was located in the west area of the centerline from north to south and pond lay in the east side. There is a mountain in the center of capital and two rivers runs along side the mountain. Gunggol at Gwancheong-ri is a best place where structural peculiarities of Gaegyeong can be applicable to Gangwha. There is an area of celadon distribution and is some topographic similarities such as central mountain, two rivers are quite similar. It is assumable that excavation result of no. 405 Gwancheongri reflects the function of east pond and thoroughfare responds to main street from north to south of Gaegyeong. After all the analysis from archaeological information, old maps, cadastral maps, topographic similarities and so on, Gunggol at Gwancheong-ri within an arc shape road is a most suitable place as palace in Gangwha.

• Journal of architectural history
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• v.24 no.4
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• pp.7-18
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• 2015

Gwanghwamun was dismantled and displaced to the east side of the palace, at that time, the Chosun Government General Building was constructed in the Gyeongbokgung palace. After the Korea war, it remained as a stonework as a result of the fire. In 1968, The Gwanghwamun came back in front of the palace. Then, why it was rebuilt in the 3rd Republic period? What was the reason for selecting concrete? Since the May 16 coup, the military regime had been utilized palace and surrounding urban space to show a visible practice of modernization. Attempting the combination of modern technology in the 1960s and traditional cultural property and reconstructing a city as a pretext called Cultural Heritage conservation was a typical mechanism of the 1960s. In this study, I start by assume that reconstructing Gwanghwamun(1968) was a part of project to change the surrounding urban space of Gwanghwamun than to preserve cultural assets. Two main contributions of the study are following. First, I collect availabe data on the reconstructing surrounding urban space of the Gwanghwamun and re-organize them in chronological order to make them as fragments of a map. Second, I analysis and identify the nature and phase of the Gwanghwamun reconstruction.

• Journal of architectural history
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• v.26 no.5
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• pp.7-18
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• 2017

The 1960s in Britain was the period of rapid economic and social change. Under this circumstance, the visionary architect Cedric Price designed the Fun Palace, of which idea came from the theatre producer, Joan Littlewood. They hoped this place to be an improvisational learning space, so Price proposed the building as 'kit of parts' which can respond to programmatic indeterminacy. Cybernetics was introduced to control this flexibility dramatically changed the character of the project from 'theatre of people' to 'interactive machine'. That resulted in the change of the status of user from subjective human beings to abstract data in the cybernetic algorithm as well, and led the project to a completely opposite direction from that Price intended. After Fun Palace, cybernetics technology could still be found in his other projects, and it can be assumed that this was because the algorithmic system of cybernetics were on the same line of thought of Price's idea - anti-building or 'kit of parts'. The effects of cybernetics varied in projects; Similar negative effect in Fun Palace can be found in Generator project, but on the other hand, in Potteries Thinkbelt project, cybernetics showed a positive aspect by contribution to the development of project on the formal analogy of algorithmic network.

• Journal of the Korean Institute of Landscape Architecture
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• v.28 no.1
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• pp.92-108
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• 2000

The rear garden of the Ch'angdok Palace is considered to be representative of gardens of the 15th century to the end of Choson Dynasty in the early 20th century and is very well preserved. Therefore with its long history, it's been represented in various way. This study tried to interprete the rear garden of the Ch'angdok Palace in terms of 'text through king Jungjo's "Sangrimshipkyog". Jungjo's "Sangrimshipkyng" that describes scenery related to ten place of the rear garden of the Ch'angdok Palace was written when he was a crown prince. And the scenery of ten places can't be separated from their physical looks and those ten places were quite different from now. For that reason, to begin with, this study recomposed those ten places through maps and drawings that revived the current looks and rear garden. And what poems tried to tell and what meanings whey had in the literacy of that age that allowed "poem enchained ten scapes" were studied in the context of co-relationship with space. As a text it is very ancient and questions arise on how to correctly interpret the information it holds. But this interpretation is only one side of the various aspects that the rear garden of the Ch'angdok Palace has compared to its long history. In light of the present age an interpretation can have richer and more varied meanings, creating many new viewpoints. creating many new viewpoints.

• Korean Institute of Interior Design Journal
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• no.34
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• pp.114-123
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• 2002

Koreans have regarded the red as a major color from old times. The red is a traditional color to have symbols of high position, national foundation and especially royalty. So, we can see the reds in the palace for kings very much.The purpose of this study is to draw out the features of color red in the Kyungbok palace. The color was analyzed by two categories-architectural buildings${\cdot}$structures and ornamental painted patterns. The major findings from this research are summarized as follows:1. Seokganju(similar to terra rossa) and toyugsaek(light seokganju) are found main colors in architectural space, while seokganju has a linear effect and toyuk has a facial effect. 2. Yugsaek(similar to light vermillion) and Jangdan(similar to orange) are found main colors in ornamental painted patterns. These colors are more vivid and brighter than those for architectural space.3. As for two-color combination, reds and blues(including greens) are found major combination both of architectural space and ornamental patterns. And reds and white are the following combination, which gives an bright image by white. 4. As for three-color combination, red-white-black combination of pediment and red-blue-white combination of openings are found very popular in architectural space, while red-blue-yellow combination is most popular in ornamental patterns.The reds are found dominant color of both architectural space and ornamental patterns in the Kyungbok palace. The color design as shown in the Kyungbok palace can be considered as the feature of traditional color design.

• The Journal of the Korea Contents Association
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• v.13 no.5
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• pp.459-471
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• 2013

The purpose of this study is to find factors to measure satisfaction degree of old palace tourism. Frochot & Hughes developed HISTOQUAL, the satisfaction measurement method of cultural heritage tourism in 2000. This study intended to add the expertise factor to developed HISTOQUAL. It surveyed 504 tourists who visited Kyeongbokgung Palace in Seoul. The result of analysis on tourism service factors to satisfaction showed significant effect. And the influence of satisfaction to revisit and recommendation also show significant effect.

• Journal of architectural history
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• v.23 no.3
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• pp.43-54
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• 2014

Naejeon area at Chandeokgung Palace means the areas of Huijeongdang and Daejojeon area. Huijeongdang or Hall of Brilliant Rule is made for the king, and Daejojeon or Hall of Great Creation is made for the queen. These areas were located nearly and repeatedly burned down and rebuilt several times together, but their forms were largely unchanged. However in 1920, they rebuilt in a very different way. The purpose of this study was to estimate construction plans, progress and completion of Naejeon area's rebuilding. They were reconstructed into eclectic structures as the exteriors were built using basic materials from Gyeongbokgung Palace. So they have traditional-looking appearances, but the interiors consisted of modern equipments and were built by applying foreign style construction techniques. The main floored room of Daejojeon and the area of Huijeongdang were built in standing style by installing radiators and French furnitures. Also, the porch, corridor, storage space and veranda were constructed under the influence of Japanese construction. After the reconstruction, there were changes in the usage of some spaces. Huijeongdang functioned only for Alhyeonso or audience chamber rather than Pyeonjeon or state hall. New organizations created by the Japanese such as Chansi or secretaries office and the Chief secretary's office were included in Naejeon area.

• Journal of the Korean Society of Food Culture
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• v.27 no.3
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• pp.316-323
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• 2012

This study examined the prevalence of the traditional pressed sweet called dasik recorded in 15 Joseon dynasty (1392-1909) royal palace studies. The ingredients used in Dasik during the Joseon dynasty were categorized into 43% cereal powders, 18.6% tree fruits, 17.4% flower powders, 11.6% root clods, 8.2% dry-fish beef powders, and 1.2% vegetables. In the early era of the Joseon dynasty there were no reports of dasik in the royal palace. In the middle era of the Joseon dynasty there was one report of dasik in the royal palace. But in the late era of the Joseon dynasty there were 85 kinds of dasik reported in the royal palace. The most common ingredients were, most common first, Song-wha (松花), Huek-im (黑荏), Hwang-yul (黃栗), Nok-mal (菉末), and chungtae (靑太). The appearance and taste of dasik varied greatly throughout the time period, eventually resulting in nutrient supplementation. This observation may be associated with the commercial industrial development that prevailed during the late Joseon dynasty. Further investigation will be conducted on the recipes and ingredients recorded in these old studies to develop a standardized recipe for the globalization of dasik.

• Journal of architectural history
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• v.27 no.2
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• pp.79-88
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• 2018

Foreign Reception Hall in Gyeongungung Palace was constructed during 1899-1902 according to Yesigjangjeong (禮式章程), Korean Empire's modern diplomatic protocol. This bulilding is a case worthy of notice, because its construction process was written in Jubon(奏本), Korean Empire's official document. Yesigjangjeong(禮式章程) regulates the process of diplomat's audience with Emperor Gojong. The process suggested that Foreign Reception Hall was designed as the place of the end as well as the beginning for audience. According to the process, diplomat came through main gate, Daehanmun and outer gate of main hall(Junghwajeon Hall, Audience Hall), then arrived at the stair to Foreign Reception Hall. After waiting time in the hall, he was going to be granted an audience with Emperor. And he exited through Foreign Reception Hall as the reverse way. This hall was constructed as western-style. Subcontracted carpenters and wood sculptors and laborers from China represents that chinese workers were prevailed in the government construction at that time. And modern building materials, such as glass, colored brick, sanitary wares and lightings were applied, which showed the new landscape in the middle of Gyeongungung Palace. Above all, official documents related with this hall reveals Korean Empire supervised this construction for diplomatic protocol. That is the identity of western-style buildings in Gyeongungung Palace.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.38 no.4
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• pp.1-11
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• 2020

Noksan is a green area in the form of a hill located inside Gyeongbokgung Palace, unrecognized as a cultural heritage space. This study analyzed the literature and the actual site to derive its landscape meaning by examining the background for the formation of Noksan and how it changed. As a result, the identity of Noksan was related to the geomagnetic vein, pine forest, and deers, and the following are its landscape meaning. First, several ancient maps, including the 「Map of Gyeongbokgung Palace」 depicted the mountain range continuing from Baegaksan(Bugaksan) Mountain to areas inside Gyeongbokgung Palace, and Noksan is a forest located on the geomantic vein, which continues to Gangnyeongjeon Hall and Munsojeon Hall. On Bukgwoldo(Map of Gyeongbokgung Palace), Noksan is depicted with Yugujeong Pavilion, Namyeogo Storage, office for the manager of Noksan, the brook on north and south, and the wall. It can be understood as a prototypical landscape composed of minimal facilities and the forest. Second, the northern palace walls of Gyeongbokgung Palace were constructed in King Sejong's reign. The area behind Yeonjo(king's resting place) up to Sinmumun Gate(north gate of the palace) was regarded as the rear garden when Gyeongbokgung Palace was constructed. However, a new rear garden was built outside the Sinmumun Gate when the palace was rebuilt. Only Noksan maintained the geomantic vein under the circumstance. However, the geographical features changed enormously during the Japanese colonial era when they constructed a huge official residence in the rear garden outside the Sinmumun Gate and the residence of the governor-general and road in the site of the Blue House. Moreover, Noksan was severed from the foothill of Baegaksan Mountain when 'Cheongwadae-ro(road)' was constructed between the Blue House and Noksan in 1967. Third, the significant characteristics and conditions of the forest, which became the origin of Noksan, were identified based on the fact that the geomatic state of the northeastern side of Gyeongbokgung Palace, the naecheongnyong area in geomantic terms(the innermost 'dragon vein' among the veins that stretched out from the central mountain toward the left side), and they planted pine trees to reinforce the 'ground vein' and the fact that it was expressed as the 'Pine Field' before the Japanese Invasion of Korea in 1592. The pine forest, mixed with oaks, cherries, elms, and chestnuts, identified through the excavation investigation, can be understood as the original vegetation landscape. Noksan's topography changed; a brook disappeared due to mounding, and foreign species such as acacia and ornamental juniper were planted. Currently, pine trees' ratio decreased while the forest is composed of oaks, mixed deciduous trees, some ailanthus, and willow. Fourth, the fact the name, 'Noksan,' came from the deer, which symbolized spirit, longevity, eternal life, and royal authority, was confirmed through an article of The Korea Daily News titled 'One of the seven deers in Nokwon(deer garden) in Gyeongbokgung Palace starved to death.'